A Judee Sill Documentary Ensures Her Musical Genius Won't Be Forgotten
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A New Shirley Chisholm Biopic Undersells Its Impressive Subject
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It's Your Last Chance to See the Archival Footage of ‘Mission Love’ at the Roxie
SF IndieFest Is a Valentine to Movies and Movie Lovers
Why I’m Declaring 2024 the Year of Film
BAMPFA Film Series Spotlights Trans Masculine, Butch and Stud Protagonists
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It was definitely long after her death, in 1979, by overdose. As someone who wasn’t alive in the ’60s and ’70s, I placed Sill’s music into my mental filing cabinet alongside contemporaries and label-mates like Joni Mitchell, Linda Ronstadt and Jackson Browne, as if it had always been there. \u003c/p>\n\u003cp>In fact, she took up far more of my mental space than that crowd. Sill’s “\u003ca href=\"https://youtu.be/kTAesI73E1U?feature=shared\">Jesus Was a Cross Maker\u003c/a>” became my go-to example of a baffling yet perfect breakup song. At low points, I listened to “\u003ca href=\"https://youtu.be/kyPhvHEtRuw?feature=shared\">The Kiss\u003c/a>,” from her 1973 sophomore album, on repeat. Her haunting voice, sliding through strange tempo shifts and baroque-inspired compositions, still sends shivers down my spine.\u003c/p>\n\u003cfigure id=\"attachment_13955794\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Judee-Singing-Credit-Greenwich-Entertainment_2000.jpg\" alt=\"Person with eyes closed singing into mic with rose-colored glasses\" width=\"2000\" height=\"1366\" class=\"size-full wp-image-13955794\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Judee-Singing-Credit-Greenwich-Entertainment_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Judee-Singing-Credit-Greenwich-Entertainment_2000-800x546.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Judee-Singing-Credit-Greenwich-Entertainment_2000-1020x697.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Judee-Singing-Credit-Greenwich-Entertainment_2000-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Judee-Singing-Credit-Greenwich-Entertainment_2000-768x525.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Judee-Singing-Credit-Greenwich-Entertainment_2000-1536x1049.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Judee-Singing-Credit-Greenwich-Entertainment_2000-1920x1311.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">An undated photo of Judee Sill singing. \u003ccite>(Greenwich Entertainment)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What I didn’t understand then, and what \u003ci>Lost Angel\u003c/i> explains patiently, admirably, is just how short-lived Sill’s career was, and how far she had fallen from the heights she hoped to achieve as “the world’s greatest living songwriter” before her death at age 35. \u003c/p>\n\u003cp>In the strange landscape of endlessly available streaming music, songs are now often loosed from albums, free-floating from any connection to era or location. This can lead to a transcendent form of time travel, like when \u003ca href=\"https://www.youtube.com/watch?v=UM18Wuw3Tns\">modern artists cover Sill’s work\u003c/a> in front of massive cheering crowds. But it can also obscure significant biographical facts and musical context.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ci>Lost Angel\u003c/i>, directed by Andy Brown and Brian Lindstrom, carefully stitches Judee Sill’s life and music back together. It’s a story that follows a familiar music industry arc, but still holds surprises. We learn that it was in reform school, for instance, that Sill gained her “gospel licks” as the church organist. And that she arrived in reform school after she was arrested, at age 18, as a “teen-age housewife who joined three friends in staging over a dozen robberies ‘just for kicks’” (according to the San Fernando \u003ci>Valley Times\u003c/i>).\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=FSYc-cLZUEs\u003c/p>\n\u003cp>Sill showed early musical aptitude, learning to harmonize with herself on a piano as a young girl at her father’s Oakland bar. After his death, Sill’s mother married a Disney animator and moved the family to Los Angeles. By Sill’s accounts, it was a chaotic and abusive household she couldn’t wait to escape.\u003c/p>\n\u003cp>We hear from family, friends, lovers and musicians who came up with Sill in Los Angeles piano bars and folk music haunts. (Many of those musicians found extraordinary success.) We see bits of her songwriting, her drawings and diaries. Animations illustrate some of her more occult and religious themes — she credited divine inspiration for her songs. \u003c/p>\n\u003cp>But the most excellent parts of \u003ci>Lost Angel\u003c/i> arrive in Sill’s own voice. It’s a relief when various star-studded covers melt into Sill’s original versions. Her singing is so crystalline it’s utterly heartbreaking: pure beauty coming out of all that pain, loss and addiction. In the final years of her life she went through numerous surgeries after a car accident; she fell back into hard drugs after doctors wouldn’t prescribe her painkillers.\u003c/p>\n\u003cfigure id=\"attachment_13955795\" class=\"wp-caption aligncenter\" style=\"max-width: 900px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Photo-4-Asylum-Billboard-November-1971-Credit-Greenwich-Entertainment.jpg\" alt=\"Billboard with album cover and information set against blue sky\" width=\"900\" height=\"611\" class=\"size-full wp-image-13955795\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Photo-4-Asylum-Billboard-November-1971-Credit-Greenwich-Entertainment.jpg 900w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Photo-4-Asylum-Billboard-November-1971-Credit-Greenwich-Entertainment-800x543.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Photo-4-Asylum-Billboard-November-1971-Credit-Greenwich-Entertainment-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Photo-4-Asylum-Billboard-November-1971-Credit-Greenwich-Entertainment-768x521.jpg 768w\" sizes=\"(max-width: 900px) 100vw, 900px\">\u003cfigcaption class=\"wp-caption-text\">The billboard Asylum Records rented in November 1971 for the release of Judee Sill’s debut album. In the documentary, Sill says she rented a car to sit across the street and just look at it. \u003ccite>(Greenwich Entertainment)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Beyond the songs, we also hear her tell parts of her own story. At one point, a recorded interview shows her striving, thankful for what she has, but restless. Also a treat: her deadpan on-stage banter (when her audience was receptive), in which Sill frames her songs with tidbits of biography I’m sure listeners believed were wildly embellished.\u003c/p>\n\u003cp>\u003ci>Lost Angel\u003c/i> doesn’t bother with the precise dates of performances or arrive at a definitive answer to why Asylum dropped Sill after just two albums. Linda Ronstadt offers perhaps the final word on that matter. “There wasn’t anybody out to get her,” Ronstadt says. “She just didn’t deliver the goods that would have resonated in that culture in that time.” \u003c/p>\n\u003cp>Total precision is not the goal of \u003ci>Lost Angel\u003c/i>, which relies much on 50-year-old memories. But this film does achieve what it ardently sets out to do: introduce Sill to those who are ready to experience the resonance of her music in the present moment. Footage of countless YouTube covers of “The Kiss” scrolls past, and the talking heads offer up an idea of valiantly living on through one’s art. \u003c/p>\n\u003cp>I’m sure Judee Sill would agree. I just wish she was here to tell us so.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Lost Angel: The Genius of Judee Sill’ begins streaming on Amazon and Apple TV on April 12, 2024. It comes to the \u003ca href=\"https://www.4-star-movies.com/\">4 Star\u003c/a> (2200 Clement St., San Francisco) April 16—17 with live pre-show music from \u003ca href=\"https://www.4-star-movies.com/calendar-of-events/lost-angel-the-genius-of-judee-sill-730-pm-62pdl\">Silverware\u003c/a> and \u003ca href=\"https://www.4-star-movies.com/calendar-of-events/lost-angel-the-genius-of-judee-sill-730-pm\">Free Key Choir\u003c/a>.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"The short life and career of the ’70s singer-songwriter are carefully stitched together in ‘Lost Angel.’","status":"publish","parent":0,"modified":1713462800,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":16,"wordCount":928},"headData":{"title":"A Judee Sill Documentary Ensures Her Musical Genius Won't Be Forgotten | KQED","description":"The short life and career of the ’70s singer-songwriter are carefully stitched together in ‘Lost Angel.’","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"A Judee Sill Documentary Ensures Her Musical Genius Won't Be Forgotten","datePublished":"2024-04-11T18:13:18.000Z","dateModified":"2024-04-18T17:53:20.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13955781/judee-sill-genius-lost-angel-documentary-review","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Unlike many of the famous people interviewed in the documentary \u003ci>Lost Angel: The Genius of Judee Sill\u003c/i>, I can’t remember exactly when I first heard Sill’s music.\u003c/p>\n\u003cp>I know it was decades after the 1971 release of her self-titled debut album, released by David Geffen’s brand-new Asylum Records. It was definitely long after her death, in 1979, by overdose. As someone who wasn’t alive in the ’60s and ’70s, I placed Sill’s music into my mental filing cabinet alongside contemporaries and label-mates like Joni Mitchell, Linda Ronstadt and Jackson Browne, as if it had always been there. \u003c/p>\n\u003cp>In fact, she took up far more of my mental space than that crowd. Sill’s “\u003ca href=\"https://youtu.be/kTAesI73E1U?feature=shared\">Jesus Was a Cross Maker\u003c/a>” became my go-to example of a baffling yet perfect breakup song. At low points, I listened to “\u003ca href=\"https://youtu.be/kyPhvHEtRuw?feature=shared\">The Kiss\u003c/a>,” from her 1973 sophomore album, on repeat. Her haunting voice, sliding through strange tempo shifts and baroque-inspired compositions, still sends shivers down my spine.\u003c/p>\n\u003cfigure id=\"attachment_13955794\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Judee-Singing-Credit-Greenwich-Entertainment_2000.jpg\" alt=\"Person with eyes closed singing into mic with rose-colored glasses\" width=\"2000\" height=\"1366\" class=\"size-full wp-image-13955794\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Judee-Singing-Credit-Greenwich-Entertainment_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Judee-Singing-Credit-Greenwich-Entertainment_2000-800x546.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Judee-Singing-Credit-Greenwich-Entertainment_2000-1020x697.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Judee-Singing-Credit-Greenwich-Entertainment_2000-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Judee-Singing-Credit-Greenwich-Entertainment_2000-768x525.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Judee-Singing-Credit-Greenwich-Entertainment_2000-1536x1049.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Judee-Singing-Credit-Greenwich-Entertainment_2000-1920x1311.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">An undated photo of Judee Sill singing. \u003ccite>(Greenwich Entertainment)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What I didn’t understand then, and what \u003ci>Lost Angel\u003c/i> explains patiently, admirably, is just how short-lived Sill’s career was, and how far she had fallen from the heights she hoped to achieve as “the world’s greatest living songwriter” before her death at age 35. \u003c/p>\n\u003cp>In the strange landscape of endlessly available streaming music, songs are now often loosed from albums, free-floating from any connection to era or location. This can lead to a transcendent form of time travel, like when \u003ca href=\"https://www.youtube.com/watch?v=UM18Wuw3Tns\">modern artists cover Sill’s work\u003c/a> in front of massive cheering crowds. But it can also obscure significant biographical facts and musical context.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>Lost Angel\u003c/i>, directed by Andy Brown and Brian Lindstrom, carefully stitches Judee Sill’s life and music back together. It’s a story that follows a familiar music industry arc, but still holds surprises. We learn that it was in reform school, for instance, that Sill gained her “gospel licks” as the church organist. And that she arrived in reform school after she was arrested, at age 18, as a “teen-age housewife who joined three friends in staging over a dozen robberies ‘just for kicks’” (according to the San Fernando \u003ci>Valley Times\u003c/i>).\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/FSYc-cLZUEs'\n title='//www.youtube.com/embed/FSYc-cLZUEs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Sill showed early musical aptitude, learning to harmonize with herself on a piano as a young girl at her father’s Oakland bar. After his death, Sill’s mother married a Disney animator and moved the family to Los Angeles. By Sill’s accounts, it was a chaotic and abusive household she couldn’t wait to escape.\u003c/p>\n\u003cp>We hear from family, friends, lovers and musicians who came up with Sill in Los Angeles piano bars and folk music haunts. (Many of those musicians found extraordinary success.) We see bits of her songwriting, her drawings and diaries. Animations illustrate some of her more occult and religious themes — she credited divine inspiration for her songs. \u003c/p>\n\u003cp>But the most excellent parts of \u003ci>Lost Angel\u003c/i> arrive in Sill’s own voice. It’s a relief when various star-studded covers melt into Sill’s original versions. Her singing is so crystalline it’s utterly heartbreaking: pure beauty coming out of all that pain, loss and addiction. In the final years of her life she went through numerous surgeries after a car accident; she fell back into hard drugs after doctors wouldn’t prescribe her painkillers.\u003c/p>\n\u003cfigure id=\"attachment_13955795\" class=\"wp-caption aligncenter\" style=\"max-width: 900px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Photo-4-Asylum-Billboard-November-1971-Credit-Greenwich-Entertainment.jpg\" alt=\"Billboard with album cover and information set against blue sky\" width=\"900\" height=\"611\" class=\"size-full wp-image-13955795\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Photo-4-Asylum-Billboard-November-1971-Credit-Greenwich-Entertainment.jpg 900w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Photo-4-Asylum-Billboard-November-1971-Credit-Greenwich-Entertainment-800x543.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Photo-4-Asylum-Billboard-November-1971-Credit-Greenwich-Entertainment-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Photo-4-Asylum-Billboard-November-1971-Credit-Greenwich-Entertainment-768x521.jpg 768w\" sizes=\"(max-width: 900px) 100vw, 900px\">\u003cfigcaption class=\"wp-caption-text\">The billboard Asylum Records rented in November 1971 for the release of Judee Sill’s debut album. In the documentary, Sill says she rented a car to sit across the street and just look at it. \u003ccite>(Greenwich Entertainment)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Beyond the songs, we also hear her tell parts of her own story. At one point, a recorded interview shows her striving, thankful for what she has, but restless. Also a treat: her deadpan on-stage banter (when her audience was receptive), in which Sill frames her songs with tidbits of biography I’m sure listeners believed were wildly embellished.\u003c/p>\n\u003cp>\u003ci>Lost Angel\u003c/i> doesn’t bother with the precise dates of performances or arrive at a definitive answer to why Asylum dropped Sill after just two albums. Linda Ronstadt offers perhaps the final word on that matter. “There wasn’t anybody out to get her,” Ronstadt says. “She just didn’t deliver the goods that would have resonated in that culture in that time.” \u003c/p>\n\u003cp>Total precision is not the goal of \u003ci>Lost Angel\u003c/i>, which relies much on 50-year-old memories. But this film does achieve what it ardently sets out to do: introduce Sill to those who are ready to experience the resonance of her music in the present moment. Footage of countless YouTube covers of “The Kiss” scrolls past, and the talking heads offer up an idea of valiantly living on through one’s art. \u003c/p>\n\u003cp>I’m sure Judee Sill would agree. I just wish she was here to tell us so.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Lost Angel: The Genius of Judee Sill’ begins streaming on Amazon and Apple TV on April 12, 2024. It comes to the \u003ca href=\"https://www.4-star-movies.com/\">4 Star\u003c/a> (2200 Clement St., San Francisco) April 16—17 with live pre-show music from \u003ca href=\"https://www.4-star-movies.com/calendar-of-events/lost-angel-the-genius-of-judee-sill-730-pm-62pdl\">Silverware\u003c/a> and \u003ca href=\"https://www.4-star-movies.com/calendar-of-events/lost-angel-the-genius-of-judee-sill-730-pm\">Free Key Choir\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13955781/judee-sill-genius-lost-angel-documentary-review","authors":["61"],"programs":["arts_140"],"categories":["arts_1","arts_74","arts_69"],"tags":["arts_21958","arts_10342","arts_10278","arts_977","arts_769"],"featImg":"arts_13955793","label":"arts_140"},"arts_13955510":{"type":"posts","id":"arts_13955510","meta":{"index":"posts_1591205157","site":"arts","id":"13955510","score":null,"sort":[1712275698000]},"guestAuthors":[],"slug":"about-dry-grasses-turkey-youth-film-review","title":"‘About Dry Grasses’ Laments the Thwarted Promise of Turkey’s Youth","publishDate":1712275698,"format":"standard","headTitle":"‘About Dry Grasses’ Laments the Thwarted Promise of Turkey’s Youth | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>In the movies, there are few settings more hopeful than elementary schools. And almost none where the characters’ derailed dreams and deflated enthusiasm hit us harder.\u003c/p>\n\u003cp>I’m not just talking about the students. Sarnet (Deniz Celiloğlu), the teacher at the center of Turkish filmmaker Nuri Bilge Ceylan’s riveting \u003cem>About Dry Grasses\u003c/em> (screening April 6 and 14 at the \u003ca href=\"https://roxie.com/production/about-dry-grasses/#showtimes\">Roxie\u003c/a>), exudes idealism and commitment from the moment we encounter him traipsing through a snowy rural landscape in Eastern Anatolia. A city fellow in his fourth (and hopefully final) year assigned to a remote village school, he may not totally fit in with the local lifers but we sense that he’s one of the good guys.\u003c/p>\n\u003cp>Yet the more time we spend with Sarnet — and Ceylan’s quietly piercing drama runs three-and-a-quarter hours, on par with the filmmaker’s previous two films — the more we come to see his elitism and arrogance. It trickles out in his interactions with his fellow teacher and roommate Kenan (Musab Ekici), but really reveals itself in Sarnet’s dealings with the film’s two female characters.\u003c/p>\n\u003cp>That’s not coincidence or happenstance; nothing is, in Ceylan’s measured social critiques. The dialogue is rife with hints about the power of Turkish authorities (the police, the education ministry) and the pressures of family and tradition. The invisible, malignant forces are governmental as well as patriarchal, to the degree you wish to separate them.\u003c/p>\n\u003cfigure id=\"attachment_13955518\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/ADG_Still8_2000.jpg\" alt=\"Two men in winter clothes on a snowy street\" width=\"2000\" height=\"838\" class=\"size-full wp-image-13955518\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/ADG_Still8_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/ADG_Still8_2000-800x335.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/ADG_Still8_2000-1020x427.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/ADG_Still8_2000-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/ADG_Still8_2000-768x322.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/ADG_Still8_2000-1536x644.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/ADG_Still8_2000-1920x804.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Samet (Deniz Celiloğlu) and Kenan (Musab Ekici) in ‘About Dry Grasses.’ \u003ccite>(Janus Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sarnet resists the status quo, or so he thinks. When his favorite student, Sevim (stellar newcomer Ece Bağci), has a love letter confiscated from her personal belongings by another teacher during an impromptu and shocking classroom search, he manages to obtain it for her. But he bungles its return and lies to Sevim, a betrayal that subsequently leads her to report him to the principal for another alleged indiscretion. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>About Dry Grasses\u003c/em> depicts the characters’ behavior with the ambiguity that attaches to human interactions, eliminating the dynamic of villains and victims. Instead we get people’s complexity, and a glimpse at how a hurt and angry liberal will resort to the kind of repressive actions he would ascribe to those he considers reactionaries.\u003c/p>\n\u003cp>“We all know exactly who and what these people are,” Sarnet tells his class after he angrily orders Sevim out in the hall the next day. “It’s just a few, isn’t it?” Then he advises his students, in a heinous act of blacklisting, to ostracize Sevim. (His instruction doesn’t seem to stick, fortunately.)\u003c/p>\n\u003cp>Sarnet’s response to Sevim’s allegation suggests that his altruism was skin deep. Perhaps his bitterness and cynicism are symptoms of his (first) midlife crisis. Either way, Ceylan subtly sets his characters’ frustration, malaise and moral paralysis against a backdrop of social and political repression and corruption.\u003c/p>\n\u003cfigure id=\"attachment_13955519\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/ADG_Still4_2000.jpg\" alt=\"Three people sit on couch and chair around a table, talking\" width=\"2000\" height=\"821\" class=\"size-full wp-image-13955519\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/ADG_Still4_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/ADG_Still4_2000-800x328.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/ADG_Still4_2000-1020x419.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/ADG_Still4_2000-160x66.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/ADG_Still4_2000-768x315.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/ADG_Still4_2000-1536x631.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/ADG_Still4_2000-1920x788.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Samet (Deniz Celiloğlu), Kenan (Musab Ekici) and Nuray (Merve Dizdar) in ‘About Dry Grasses.’ \u003ccite>(Janus Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>About Dry Grasses\u003c/em> plows this field through Sarnet and Kenan’s developing friendship with Nuray (Merve Dizdar, who received the Best Actress award at last year’s Cannes Film Festival), a teacher at another school. Nuray lost a leg in a suicide bomb attack in Ankara and moved back to the area to live with her parents. Fiercely independent and an avowed socialist, she is having a hard time re-adjusting to the rhythms of village life.\u003c/p>\n\u003cp>“Everything seems to take so long here — lessons, breaks, waiting for weekends, nights, everything,” she says. She gently prods Sarnet to pursue his oft-mentioned wish to move to Istanbul, while side-eyeing Kenan (who likewise grew up in the area, and has the additional advantage of being dark and handsome).\u003c/p>\n\u003cp>Most of \u003cem>About Dry Grasses\u003c/em> takes place indoors, fueled by tea and conversation, with the incipient claustrophobia broken by brief escapes outdoors for lovely open vistas of white nothingness. Talk, in this world, is as much a way of passing the time as it is of deepening connections. But as Nuray tries to impress on Sarnet, in a pivotal dinner at her place when her parents are away on a trip, action beats words every time.\u003c/p>\n\u003cp>He keeps missing the point, over and over, in an Olympic-level feat of deflection and auto-blindness. His squashed ambition, the movie suggests, reflects an entire generation’s thwarted promise and diminished expectations. Nuray, the most politically astute figure in the film, chooses to put it in personal terms.\u003c/p>\n\u003cfigure id=\"attachment_13955520\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/ADG_Still5_2000.jpg\" alt=\"Three people in golden-lit landscape with ruins of two large columns\" width=\"2000\" height=\"838\" class=\"size-full wp-image-13955520\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/ADG_Still5_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/ADG_Still5_2000-800x335.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/ADG_Still5_2000-1020x427.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/ADG_Still5_2000-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/ADG_Still5_2000-768x322.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/ADG_Still5_2000-1536x644.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/ADG_Still5_2000-1920x804.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A still from ‘About Dry Grasses.’ \u003ccite>(Janus Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It seems to me that everything beautiful in this world gets stuck in the webs we weave before it ever reaches us,” she says.\u003c/p>\n\u003cp>\u003cem>About Dry Grasses\u003c/em> leaves the futures and fates of its characters open, as it should. You might see Sarnet, three decades hence, becoming a cosseted curmudgeon (and confirmed loner) like Paul Giamatti’s private-school prof in \u003ci>The Holdovers\u003c/i>. One can imagine Nuray and Kenan continuing on their current roads, without feeling as if they compromised.\u003c/p>\n\u003cp>As for Sevim, I think Ceylan hopes she grows up to be Nuray. With better opportunities, in a more progressive Turkey.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘About Dry Grasses’ plays at the Roxie (3125 16th St., San Francisco) on April 6 and 14. \u003ca href=\"https://roxie.com/production/about-dry-grasses/\">Tickets and more information here\u003c/a>.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"Nuri Bilge Ceylan’s riveting, wintry drama centers on three thirtysomething teachers in a remote village.","status":"publish","parent":0,"modified":1712276780,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":18,"wordCount":934},"headData":{"title":"‘About Dry Grasses’ Review: Lamenting Turkey’s Thwarted Youth | KQED","description":"Nuri Bilge Ceylan’s riveting, wintry drama centers on three thirtysomething teachers in a remote village.","ogTitle":"‘About Dry Grasses’ Laments the Thwarted Promise of Turkey’s Youth","ogDescription":"","ogImgId":"","twTitle":"‘About Dry Grasses’ Laments the Thwarted Promise of Turkey’s Youth","twDescription":"","twImgId":"","socialTitle":"‘About Dry Grasses’ Review: Lamenting Turkey’s Thwarted Youth %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"‘About Dry Grasses’ Laments the Thwarted Promise of Turkey’s Youth","datePublished":"2024-04-05T00:08:18.000Z","dateModified":"2024-04-05T00:26:20.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13955510/about-dry-grasses-turkey-youth-film-review","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the movies, there are few settings more hopeful than elementary schools. And almost none where the characters’ derailed dreams and deflated enthusiasm hit us harder.\u003c/p>\n\u003cp>I’m not just talking about the students. Sarnet (Deniz Celiloğlu), the teacher at the center of Turkish filmmaker Nuri Bilge Ceylan’s riveting \u003cem>About Dry Grasses\u003c/em> (screening April 6 and 14 at the \u003ca href=\"https://roxie.com/production/about-dry-grasses/#showtimes\">Roxie\u003c/a>), exudes idealism and commitment from the moment we encounter him traipsing through a snowy rural landscape in Eastern Anatolia. A city fellow in his fourth (and hopefully final) year assigned to a remote village school, he may not totally fit in with the local lifers but we sense that he’s one of the good guys.\u003c/p>\n\u003cp>Yet the more time we spend with Sarnet — and Ceylan’s quietly piercing drama runs three-and-a-quarter hours, on par with the filmmaker’s previous two films — the more we come to see his elitism and arrogance. It trickles out in his interactions with his fellow teacher and roommate Kenan (Musab Ekici), but really reveals itself in Sarnet’s dealings with the film’s two female characters.\u003c/p>\n\u003cp>That’s not coincidence or happenstance; nothing is, in Ceylan’s measured social critiques. The dialogue is rife with hints about the power of Turkish authorities (the police, the education ministry) and the pressures of family and tradition. The invisible, malignant forces are governmental as well as patriarchal, to the degree you wish to separate them.\u003c/p>\n\u003cfigure id=\"attachment_13955518\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/ADG_Still8_2000.jpg\" alt=\"Two men in winter clothes on a snowy street\" width=\"2000\" height=\"838\" class=\"size-full wp-image-13955518\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/ADG_Still8_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/ADG_Still8_2000-800x335.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/ADG_Still8_2000-1020x427.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/ADG_Still8_2000-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/ADG_Still8_2000-768x322.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/ADG_Still8_2000-1536x644.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/ADG_Still8_2000-1920x804.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Samet (Deniz Celiloğlu) and Kenan (Musab Ekici) in ‘About Dry Grasses.’ \u003ccite>(Janus Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sarnet resists the status quo, or so he thinks. When his favorite student, Sevim (stellar newcomer Ece Bağci), has a love letter confiscated from her personal belongings by another teacher during an impromptu and shocking classroom search, he manages to obtain it for her. But he bungles its return and lies to Sevim, a betrayal that subsequently leads her to report him to the principal for another alleged indiscretion. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>About Dry Grasses\u003c/em> depicts the characters’ behavior with the ambiguity that attaches to human interactions, eliminating the dynamic of villains and victims. Instead we get people’s complexity, and a glimpse at how a hurt and angry liberal will resort to the kind of repressive actions he would ascribe to those he considers reactionaries.\u003c/p>\n\u003cp>“We all know exactly who and what these people are,” Sarnet tells his class after he angrily orders Sevim out in the hall the next day. “It’s just a few, isn’t it?” Then he advises his students, in a heinous act of blacklisting, to ostracize Sevim. (His instruction doesn’t seem to stick, fortunately.)\u003c/p>\n\u003cp>Sarnet’s response to Sevim’s allegation suggests that his altruism was skin deep. Perhaps his bitterness and cynicism are symptoms of his (first) midlife crisis. Either way, Ceylan subtly sets his characters’ frustration, malaise and moral paralysis against a backdrop of social and political repression and corruption.\u003c/p>\n\u003cfigure id=\"attachment_13955519\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/ADG_Still4_2000.jpg\" alt=\"Three people sit on couch and chair around a table, talking\" width=\"2000\" height=\"821\" class=\"size-full wp-image-13955519\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/ADG_Still4_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/ADG_Still4_2000-800x328.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/ADG_Still4_2000-1020x419.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/ADG_Still4_2000-160x66.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/ADG_Still4_2000-768x315.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/ADG_Still4_2000-1536x631.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/ADG_Still4_2000-1920x788.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Samet (Deniz Celiloğlu), Kenan (Musab Ekici) and Nuray (Merve Dizdar) in ‘About Dry Grasses.’ \u003ccite>(Janus Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>About Dry Grasses\u003c/em> plows this field through Sarnet and Kenan’s developing friendship with Nuray (Merve Dizdar, who received the Best Actress award at last year’s Cannes Film Festival), a teacher at another school. Nuray lost a leg in a suicide bomb attack in Ankara and moved back to the area to live with her parents. Fiercely independent and an avowed socialist, she is having a hard time re-adjusting to the rhythms of village life.\u003c/p>\n\u003cp>“Everything seems to take so long here — lessons, breaks, waiting for weekends, nights, everything,” she says. She gently prods Sarnet to pursue his oft-mentioned wish to move to Istanbul, while side-eyeing Kenan (who likewise grew up in the area, and has the additional advantage of being dark and handsome).\u003c/p>\n\u003cp>Most of \u003cem>About Dry Grasses\u003c/em> takes place indoors, fueled by tea and conversation, with the incipient claustrophobia broken by brief escapes outdoors for lovely open vistas of white nothingness. Talk, in this world, is as much a way of passing the time as it is of deepening connections. But as Nuray tries to impress on Sarnet, in a pivotal dinner at her place when her parents are away on a trip, action beats words every time.\u003c/p>\n\u003cp>He keeps missing the point, over and over, in an Olympic-level feat of deflection and auto-blindness. His squashed ambition, the movie suggests, reflects an entire generation’s thwarted promise and diminished expectations. Nuray, the most politically astute figure in the film, chooses to put it in personal terms.\u003c/p>\n\u003cfigure id=\"attachment_13955520\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/ADG_Still5_2000.jpg\" alt=\"Three people in golden-lit landscape with ruins of two large columns\" width=\"2000\" height=\"838\" class=\"size-full wp-image-13955520\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/ADG_Still5_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/ADG_Still5_2000-800x335.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/ADG_Still5_2000-1020x427.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/ADG_Still5_2000-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/ADG_Still5_2000-768x322.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/ADG_Still5_2000-1536x644.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/ADG_Still5_2000-1920x804.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A still from ‘About Dry Grasses.’ \u003ccite>(Janus Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It seems to me that everything beautiful in this world gets stuck in the webs we weave before it ever reaches us,” she says.\u003c/p>\n\u003cp>\u003cem>About Dry Grasses\u003c/em> leaves the futures and fates of its characters open, as it should. You might see Sarnet, three decades hence, becoming a cosseted curmudgeon (and confirmed loner) like Paul Giamatti’s private-school prof in \u003ci>The Holdovers\u003c/i>. One can imagine Nuray and Kenan continuing on their current roads, without feeling as if they compromised.\u003c/p>\n\u003cp>As for Sevim, I think Ceylan hopes she grows up to be Nuray. With better opportunities, in a more progressive Turkey.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘About Dry Grasses’ plays at the Roxie (3125 16th St., San Francisco) on April 6 and 14. \u003ca href=\"https://roxie.com/production/about-dry-grasses/\">Tickets and more information here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13955510/about-dry-grasses-turkey-youth-film-review","authors":["22"],"programs":["arts_140"],"categories":["arts_1","arts_74"],"tags":["arts_977","arts_769","arts_3163","arts_585"],"featImg":"arts_13955517","label":"arts_140"},"arts_13955381":{"type":"posts","id":"arts_13955381","meta":{"index":"posts_1591205157","site":"arts","id":"13955381","score":null,"sort":[1712187238000]},"guestAuthors":[],"slug":"experimental-films-the-lab-counterpulse-ybca","title":"YBCA’s Experimental Film Programs Find New Homes at The Lab and CounterPulse","publishDate":1712187238,"format":"standard","headTitle":"YBCA’s Experimental Film Programs Find New Homes at The Lab and CounterPulse | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>While Yerba Buena Center for the Arts’ screening room continues to sit dark (without any films to illuminate it), the programs originally organized by Gina Basso to accompany the \u003ci>Bay Area Now 9\u003c/i> exhibition have been busy finding other homes.\u003c/p>\n\u003cp>What could be seen as an unfortunate dispersal of all the energy YBCA might have held tight has become an opportunity to visit some of the Bay Area’s great alternative venues. In that vein, last month’s planned \u003ca href=\"https://www.kqed.org/arts/13954375/experimental-animation-shapeshifters-cinema-ybca\">expanded and experimental animation program\u003c/a> played to a packed house at Oakland’s Shapeshifters Cinema. Now, two other interrupted and withdrawn programs are reconvening at The Lab and CounterPulse.\u003c/p>\n\u003cp>First up is \u003ci>\u003ca href=\"https://www.atasite.org/?p=15368\">Untitled: Sound & Images\u003c/a>\u003c/i>, an Artists’ Television Access-curated night of expanded, ethereal cinema at The Lab on April 12. The show features \u003ci>Light Year\u003c/i>, a 16mm film work by the late, beloved artist \u003ca href=\"https://www.kqed.org/arts/13823720/paul-clipson-visionary-filmmaker-and-projectionist-dies-at-53\">Paul Clipson\u003c/a> (soundtrack by Tashi Wada) and live performances from three collaborative pairs: Lisa Mezzacappa and Anjali Sundaram, Amma Ateria and Linda Scobie, Joshua Churchill and Konrad Steiner.\u003c/p>\n\u003cp>https://vimeo.com/85962209\u003c/p>\n\u003cp>Mixing digital and analog media, each live performance includes elements of improvisation that truly make this a one-night-only experience of Bay Area film and sound art — all the more reason to be happy this planned night (originally scheduled for Feb. 24) didn’t simply disappear.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Just a week later, Leah Rosenberg’s \u003ci>\u003ca href=\"https://www.sfcinematheque.org/screening/color-in-twelve-parts/\">Color in Twelve Parts\u003c/a>\u003c/i>, a piece commissioned by Basso for the \u003ci>BAN 9\u003c/i> film program, gets a triumphant, complete debut on April 21 at CounterPulse. Halted halfway through its 12-part rollout by the Feb. 15 closure of YBCA, Rosenberg’s series of monochromatic films, mise en scènes with collections of different-hued objects, marks a departure from the artist’s usual mediums of painting, sculpture and site-specific durational performances. (And cake, and drinks — \u003ca href=\"https://www.leahrosenberg.com/\">she does a lot\u003c/a>.)\u003c/p>\n\u003cp>“It really is this video version of all the themes and areas of interest she’s been involved with very deeply for over a decade,” Basso said of Rosenberg’s films last month. “They’re really beautiful and very sumptuous and they’re obviously colorful, but they’re really fun to watch because she put herself in them — all of these videos begin with her painting her studio a different color.”\u003c/p>\n\u003cp>In a neat twist, the \u003ci>Color in Twelve Parts\u003c/i> will be screened twice, with two different live soundtracks performed by artists John Davis and Kim West.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003ci>Artists’ Television Access’ ‘Untitled: sound & images’ takes place April 12, 2024, 8–10 p.m. at The Lab (2948 16th St., San Francisco). \u003ca href=\"https://www.atasite.org/?p=15368\">Tickets and more information here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Leah Rosenberg’s ‘Color in Twelve Parts’ screens April 21, 2024, 7:30 p.m. at CounterPulse (80 Turk St., San Francisco). \u003ca href=\"https://www.sfcinematheque.org/screening/color-in-twelve-parts/\">Tickets and more information here\u003c/a>.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"Audiences can now catch a night curated by Artists’ Television Access and an artist’s meditation on color.","status":"publish","parent":0,"modified":1712187238,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":12,"wordCount":496},"headData":{"title":"YBCA’s Film Programs Relocate The Lab and CounterPulse | KQED","description":"Audiences can now catch a night curated by Artists’ Television Access and an artist’s meditation on color.","ogTitle":"YBCA’s Experimental Film Programs Find New Homes at The Lab and CounterPulse","ogDescription":"","ogImgId":"","twTitle":"YBCA’s Experimental Film Programs Find New Homes at The Lab and CounterPulse","twDescription":"","twImgId":"","socialTitle":"YBCA’s Film Programs Relocate The Lab and CounterPulse %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"YBCA’s Experimental Film Programs Find New Homes at The Lab and CounterPulse","datePublished":"2024-04-03T23:33:58.000Z","dateModified":"2024-04-03T23:33:58.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13955381/experimental-films-the-lab-counterpulse-ybca","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>While Yerba Buena Center for the Arts’ screening room continues to sit dark (without any films to illuminate it), the programs originally organized by Gina Basso to accompany the \u003ci>Bay Area Now 9\u003c/i> exhibition have been busy finding other homes.\u003c/p>\n\u003cp>What could be seen as an unfortunate dispersal of all the energy YBCA might have held tight has become an opportunity to visit some of the Bay Area’s great alternative venues. In that vein, last month’s planned \u003ca href=\"https://www.kqed.org/arts/13954375/experimental-animation-shapeshifters-cinema-ybca\">expanded and experimental animation program\u003c/a> played to a packed house at Oakland’s Shapeshifters Cinema. Now, two other interrupted and withdrawn programs are reconvening at The Lab and CounterPulse.\u003c/p>\n\u003cp>First up is \u003ci>\u003ca href=\"https://www.atasite.org/?p=15368\">Untitled: Sound & Images\u003c/a>\u003c/i>, an Artists’ Television Access-curated night of expanded, ethereal cinema at The Lab on April 12. The show features \u003ci>Light Year\u003c/i>, a 16mm film work by the late, beloved artist \u003ca href=\"https://www.kqed.org/arts/13823720/paul-clipson-visionary-filmmaker-and-projectionist-dies-at-53\">Paul Clipson\u003c/a> (soundtrack by Tashi Wada) and live performances from three collaborative pairs: Lisa Mezzacappa and Anjali Sundaram, Amma Ateria and Linda Scobie, Joshua Churchill and Konrad Steiner.\u003c/p>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"vimeoLink","attributes":{"named":{"vimeoId":"85962209"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Mixing digital and analog media, each live performance includes elements of improvisation that truly make this a one-night-only experience of Bay Area film and sound art — all the more reason to be happy this planned night (originally scheduled for Feb. 24) didn’t simply disappear.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Just a week later, Leah Rosenberg’s \u003ci>\u003ca href=\"https://www.sfcinematheque.org/screening/color-in-twelve-parts/\">Color in Twelve Parts\u003c/a>\u003c/i>, a piece commissioned by Basso for the \u003ci>BAN 9\u003c/i> film program, gets a triumphant, complete debut on April 21 at CounterPulse. Halted halfway through its 12-part rollout by the Feb. 15 closure of YBCA, Rosenberg’s series of monochromatic films, mise en scènes with collections of different-hued objects, marks a departure from the artist’s usual mediums of painting, sculpture and site-specific durational performances. (And cake, and drinks — \u003ca href=\"https://www.leahrosenberg.com/\">she does a lot\u003c/a>.)\u003c/p>\n\u003cp>“It really is this video version of all the themes and areas of interest she’s been involved with very deeply for over a decade,” Basso said of Rosenberg’s films last month. “They’re really beautiful and very sumptuous and they’re obviously colorful, but they’re really fun to watch because she put herself in them — all of these videos begin with her painting her studio a different color.”\u003c/p>\n\u003cp>In a neat twist, the \u003ci>Color in Twelve Parts\u003c/i> will be screened twice, with two different live soundtracks performed by artists John Davis and Kim West.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003ci>Artists’ Television Access’ ‘Untitled: sound & images’ takes place April 12, 2024, 8–10 p.m. at The Lab (2948 16th St., San Francisco). \u003ca href=\"https://www.atasite.org/?p=15368\">Tickets and more information here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Leah Rosenberg’s ‘Color in Twelve Parts’ screens April 21, 2024, 7:30 p.m. at CounterPulse (80 Turk St., San Francisco). \u003ca href=\"https://www.sfcinematheque.org/screening/color-in-twelve-parts/\">Tickets and more information here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13955381/experimental-films-the-lab-counterpulse-ybca","authors":["61"],"programs":["arts_140"],"categories":["arts_1","arts_74","arts_69","arts_70"],"tags":["arts_1018","arts_10278","arts_977","arts_1146","arts_4109","arts_585"],"featImg":"arts_13955401","label":"arts_140"},"arts_13954571":{"type":"posts","id":"arts_13954571","meta":{"index":"posts_1591205157","site":"arts","id":"13954571","score":null,"sort":[1711125063000]},"guestAuthors":[],"slug":"a-new-shirley-chisholm-biopic-undersells-its-impressive-subject","title":"A New Shirley Chisholm Biopic Undersells Its Impressive Subject","publishDate":1711125063,"format":"standard","headTitle":"A New Shirley Chisholm Biopic Undersells Its Impressive Subject | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>In 1969, Shirley Chisholm became the first Black U.S. congresswoman at 44 years old. The Brooklyn representative’s objection to her assignment on the agriculture committee reads today as a justified act of indignance: She was there to get things done for her constituents, seniority be damned.\u003c/p>\n\u003cp>A version of this incident appears near the beginning of \u003cem>Shirley\u003c/em> (premiering Friday, March 22 on Netflix after a one-week theatrical run) to alert us that Chisholm was unwaveringly results-oriented despite obstacles like protocol, process and tradition. And just as importantly, the scene suggests that her voice was not respected.\u003c/p>\n\u003cp>The obviousness with which the prolific writer, producer and director John Ridley conveys these two points sets the tone for the rest of this watchable but predictable historical drama. The problem is that \u003cem>Shirley\u003c/em> consists of a parade of dialogue scenes that, contrary to principles of visual storytelling, show us nothing and tell us everything. The missed opportunity is that we are continually presented with what Chisholm (played by Regina King) represents, rather than taken, shaken and inspired by who she was.\u003c/p>\n\u003cfigure id=\"attachment_13954603\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954603\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SHIRLEY_Unit_04384r-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1706\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SHIRLEY_Unit_04384r-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SHIRLEY_Unit_04384r-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SHIRLEY_Unit_04384r-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SHIRLEY_Unit_04384r-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SHIRLEY_Unit_04384r-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SHIRLEY_Unit_04384r-1536x1023.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SHIRLEY_Unit_04384r-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SHIRLEY_Unit_04384r-1920x1279.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Regina King as Shirley Chisholm and Terrence Howard as Arthur Hardwick Jr. in ‘Shirley.’ \u003ccite>(Glen Wilson/Netflix © 2023)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Shirley\u003c/em> pinpoints Chisholm’s arrival on the national scene by condensing the universe of 1960s political, racial and social upheaval into a simplistic collage. Chisholm isn’t a radical, though, but an experienced educator and state legislator who believes in change from within the system. Perhaps frustrated with the pace of progress in Congress, she decides at the beginning of 1972 to run for president. [aside postid='arts_13952570']\u003c/p>\n\u003cp>Like George C. Wolfe’s superior film \u003cem>Rustin\u003c/em> (also on Netflix), which blends its subject’s personal life with the planning and execution of a specific project (the 1963 March on Washington for Jobs and Freedom), \u003cem>Shirley\u003c/em> takes us behind the scenes while building toward a finish line. Chisholm’s Jamaican-born husband Conrad (Michael Cherrie), a private investigator who becomes her security, supplies a low-temperature domestic melodrama. Her disapproving sister Muriel (Reina King) shows up now and again to reprimand Shirley for a swelled head (she’s not special, no matter what their father told her growing up).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>On the longshot, underfunded campaign front, Black Congressmen Walter Fauntroy (André Holland) of Washington, D.C. and Ron Dellums (Dorian Crossmond Missick) of Oakland say all the right things to Shirley. But—spoiler alert!—politicians don’t always keep their promises. At least Chisholm’s seasoned political advisors, Wesley “Mac” Holder (Lance Reddick) and Arthur Hardwick Jr. (Terrence Howard), are trustworthy, as is Conrad even if his opinion doesn’t carry the same weight.\u003c/p>\n\u003cp>If you appreciate Dellums’ appearance in \u003cem>Shirley\u003c/em>, you’ll chuckle in recognition at a young Black student named Barbara Lee (Christina Jackson), whom Chisholm enlists in the campaign and entrusts with increasing responsibility. Lee has less screen time than national student coordinator Robert Gottlieb (Lucas Hedges), but her character resonates louder. [aside postid='arts_13950520']\u003c/p>\n\u003cp>While \u003cem>Rustin\u003c/em> offered the pleasures of Colman Domingo’s flamboyant performance, \u003cem>Shirley\u003c/em> largely deprives Regina King of flashy moments. She has a wonderful scene with actress and singer Diahann Carroll (Amirah Vann) and Huey P. Newton (Brad James) next to Carroll’s Hollywood pool, but \u003cem>Shirley\u003c/em> doesn’t give her a galvanizing speech until Chisholm takes the mic late in the film at a luncheon of Black delegates at the Democratic National Convention.\u003c/p>\n\u003cfigure id=\"attachment_13954602\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954602\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SHIRLEY_Unit_07571r-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SHIRLEY_Unit_07571r-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SHIRLEY_Unit_07571r-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SHIRLEY_Unit_07571r-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SHIRLEY_Unit_07571r-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SHIRLEY_Unit_07571r-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SHIRLEY_Unit_07571r-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SHIRLEY_Unit_07571r-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SHIRLEY_Unit_07571r-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Brad James as Huey Newton in ‘Shirley.’ \u003ccite>(Glen Wilson/Netflix © 2023)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Only then does Chisholm’s polite dignity give way to something approaching righteous fury — Chisholm’s defining characteristic and the beating heart of Shola Lynch’s galvanizing 2004 documentary \u003cem>Chisholm ’72: Unbought and Unbossed\u003c/em> (streaming on Kanopy and Amazon Prime).\u003c/p>\n\u003cp>Admittedly, there is a sequence in \u003cem>Shirley\u003c/em> where the congresswoman’s measured demeanor and old-school values combine to deliver a punch. Against her advisors’ counsel, Chisholm visits avowed racist and fellow Democratic presidential candidate George Wallace in the hospital after he’s paralyzed by an assassin’s bullets. She speaks to him as a Christian, and her compassion and belief in second chances contrast sharply with recent statements of some supposedly religious politicians. [aside postid='arts_13926548']\u003c/p>\n\u003cp>Curiously, this was one of the few times in \u003cem>Shirley\u003c/em> where I felt its relevance to the current moment. Though it’s standard procedure for biopics and historical dramas to draw connections to the present, \u003cem>Shirley\u003c/em> fumbles this basic assignment. At the end of the film and before the credits, Ridley awkwardly inserts Congresswoman Barbara Lee to deliver a few words about Chisholm’s contributions.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Was Shirley Chisholm’s presidential campaign a transformative event or a political footnote? John Ridley would say the former, but his film doesn’t make a convincing case.\u003c/p>\n\n","blocks":[],"excerpt":"Regina King stars as the Brooklyn congresswoman who made a historic run for president in 1972. ","status":"publish","parent":0,"modified":1711125525,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":14,"wordCount":831},"headData":{"title":"A New Shirley Chisholm Biopic Undersells Its Impressive Subject | KQED","description":"Regina King stars as the Brooklyn congresswoman who made a historic run for president in 1972. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"A New Shirley Chisholm Biopic Undersells Its Impressive Subject","datePublished":"2024-03-22T16:31:03.000Z","dateModified":"2024-03-22T16:38:45.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13954571/a-new-shirley-chisholm-biopic-undersells-its-impressive-subject","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 1969, Shirley Chisholm became the first Black U.S. congresswoman at 44 years old. The Brooklyn representative’s objection to her assignment on the agriculture committee reads today as a justified act of indignance: She was there to get things done for her constituents, seniority be damned.\u003c/p>\n\u003cp>A version of this incident appears near the beginning of \u003cem>Shirley\u003c/em> (premiering Friday, March 22 on Netflix after a one-week theatrical run) to alert us that Chisholm was unwaveringly results-oriented despite obstacles like protocol, process and tradition. And just as importantly, the scene suggests that her voice was not respected.\u003c/p>\n\u003cp>The obviousness with which the prolific writer, producer and director John Ridley conveys these two points sets the tone for the rest of this watchable but predictable historical drama. The problem is that \u003cem>Shirley\u003c/em> consists of a parade of dialogue scenes that, contrary to principles of visual storytelling, show us nothing and tell us everything. The missed opportunity is that we are continually presented with what Chisholm (played by Regina King) represents, rather than taken, shaken and inspired by who she was.\u003c/p>\n\u003cfigure id=\"attachment_13954603\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954603\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SHIRLEY_Unit_04384r-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1706\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SHIRLEY_Unit_04384r-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SHIRLEY_Unit_04384r-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SHIRLEY_Unit_04384r-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SHIRLEY_Unit_04384r-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SHIRLEY_Unit_04384r-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SHIRLEY_Unit_04384r-1536x1023.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SHIRLEY_Unit_04384r-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SHIRLEY_Unit_04384r-1920x1279.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Regina King as Shirley Chisholm and Terrence Howard as Arthur Hardwick Jr. in ‘Shirley.’ \u003ccite>(Glen Wilson/Netflix © 2023)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Shirley\u003c/em> pinpoints Chisholm’s arrival on the national scene by condensing the universe of 1960s political, racial and social upheaval into a simplistic collage. Chisholm isn’t a radical, though, but an experienced educator and state legislator who believes in change from within the system. Perhaps frustrated with the pace of progress in Congress, she decides at the beginning of 1972 to run for president. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13952570","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Like George C. Wolfe’s superior film \u003cem>Rustin\u003c/em> (also on Netflix), which blends its subject’s personal life with the planning and execution of a specific project (the 1963 March on Washington for Jobs and Freedom), \u003cem>Shirley\u003c/em> takes us behind the scenes while building toward a finish line. Chisholm’s Jamaican-born husband Conrad (Michael Cherrie), a private investigator who becomes her security, supplies a low-temperature domestic melodrama. Her disapproving sister Muriel (Reina King) shows up now and again to reprimand Shirley for a swelled head (she’s not special, no matter what their father told her growing up).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>On the longshot, underfunded campaign front, Black Congressmen Walter Fauntroy (André Holland) of Washington, D.C. and Ron Dellums (Dorian Crossmond Missick) of Oakland say all the right things to Shirley. But—spoiler alert!—politicians don’t always keep their promises. At least Chisholm’s seasoned political advisors, Wesley “Mac” Holder (Lance Reddick) and Arthur Hardwick Jr. (Terrence Howard), are trustworthy, as is Conrad even if his opinion doesn’t carry the same weight.\u003c/p>\n\u003cp>If you appreciate Dellums’ appearance in \u003cem>Shirley\u003c/em>, you’ll chuckle in recognition at a young Black student named Barbara Lee (Christina Jackson), whom Chisholm enlists in the campaign and entrusts with increasing responsibility. Lee has less screen time than national student coordinator Robert Gottlieb (Lucas Hedges), but her character resonates louder. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13950520","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>While \u003cem>Rustin\u003c/em> offered the pleasures of Colman Domingo’s flamboyant performance, \u003cem>Shirley\u003c/em> largely deprives Regina King of flashy moments. She has a wonderful scene with actress and singer Diahann Carroll (Amirah Vann) and Huey P. Newton (Brad James) next to Carroll’s Hollywood pool, but \u003cem>Shirley\u003c/em> doesn’t give her a galvanizing speech until Chisholm takes the mic late in the film at a luncheon of Black delegates at the Democratic National Convention.\u003c/p>\n\u003cfigure id=\"attachment_13954602\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954602\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SHIRLEY_Unit_07571r-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SHIRLEY_Unit_07571r-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SHIRLEY_Unit_07571r-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SHIRLEY_Unit_07571r-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SHIRLEY_Unit_07571r-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SHIRLEY_Unit_07571r-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SHIRLEY_Unit_07571r-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SHIRLEY_Unit_07571r-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SHIRLEY_Unit_07571r-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Brad James as Huey Newton in ‘Shirley.’ \u003ccite>(Glen Wilson/Netflix © 2023)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Only then does Chisholm’s polite dignity give way to something approaching righteous fury — Chisholm’s defining characteristic and the beating heart of Shola Lynch’s galvanizing 2004 documentary \u003cem>Chisholm ’72: Unbought and Unbossed\u003c/em> (streaming on Kanopy and Amazon Prime).\u003c/p>\n\u003cp>Admittedly, there is a sequence in \u003cem>Shirley\u003c/em> where the congresswoman’s measured demeanor and old-school values combine to deliver a punch. Against her advisors’ counsel, Chisholm visits avowed racist and fellow Democratic presidential candidate George Wallace in the hospital after he’s paralyzed by an assassin’s bullets. She speaks to him as a Christian, and her compassion and belief in second chances contrast sharply with recent statements of some supposedly religious politicians. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13926548","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Curiously, this was one of the few times in \u003cem>Shirley\u003c/em> where I felt its relevance to the current moment. Though it’s standard procedure for biopics and historical dramas to draw connections to the present, \u003cem>Shirley\u003c/em> fumbles this basic assignment. At the end of the film and before the credits, Ridley awkwardly inserts Congresswoman Barbara Lee to deliver a few words about Chisholm’s contributions.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Was Shirley Chisholm’s presidential campaign a transformative event or a political footnote? John Ridley would say the former, but his film doesn’t make a convincing case.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13954571/a-new-shirley-chisholm-biopic-undersells-its-impressive-subject","authors":["22"],"categories":["arts_1","arts_74"],"tags":["arts_4097","arts_10278","arts_977","arts_769"],"featImg":"arts_13954604","label":"arts"},"arts_13954587":{"type":"posts","id":"arts_13954587","meta":{"index":"posts_1591205157","site":"arts","id":"13954587","score":null,"sort":[1711062586000]},"guestAuthors":[],"slug":"edward-yang-taiwanese-films-yi-yi-a-brighter-summer-day-bampfa","title":"Filmmaker Edward Yang’s Taipei Stories Shimmer at BAMPFA","publishDate":1711062586,"format":"standard","headTitle":"Filmmaker Edward Yang’s Taipei Stories Shimmer at BAMPFA | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>When I first started watching \u003ci>A Brighter Summer Day\u003c/i>, the \u003ca href=\"https://www.kqed.org/arts/tag/taiwanese\">Taiwanese\u003c/a> filmmaker Edward Yang’s bittersweet chronicle of teenage street gangs in 1960 Taipei, I was more than a little dubious. The film has a four-hour (!) runtime, after all, and my past experiences with Taiwan New Wave cinema — with its long, languid takes and relative lack of dialogue — had been middling at best.\u003c/p>\n\u003cp>I needn’t have worried. From its opening moments, the film transfixed me with its slow-simmering portrayal of rebellious, misunderstood and (sometimes) delinquent youths who roam the streets of Taipei during a particularly uneasy time in Taiwan’s history. Occasionally, the kids are brawling with concrete bricks and baseball bats. In other scenes, though, they’re eating shaved ice on a hot summer day. Crooning American rock ‘n’ roll ballads with the voice of an angel. Falling in love for the first time.\u003c/p>\n\u003cp>The film is screening on March 23 at \u003ca href=\"https://bampfa.org/\">Berkeley Art Museum and Pacific Film Archive\u003c/a>, which is a few weeks into a months-long series, \u003ca href=\"https://bampfa.org/program/edward-yangs-taipei-stories\">Edward Yang’s Taipei Stories\u003c/a>, during which they’ll show all seven films that the legendary director made before he died in 2007. Taken together, the series makes a compelling case for what many film buffs, including BAMPFA Associate Film Curator Kate MacKay, have concluded: that Yang was “one of the all-time greats of cinema.”\u003c/p>\n\u003cfigure id=\"attachment_13954594\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954594\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Yang_A-Brighter-Summer-Day_005.jpg\" alt=\"Teenage boys in matching khaki green school uniforms stand in a row, looking off to the side with serious expressions.\" width=\"2000\" height=\"1125\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Yang_A-Brighter-Summer-Day_005.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Yang_A-Brighter-Summer-Day_005-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Yang_A-Brighter-Summer-Day_005-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Yang_A-Brighter-Summer-Day_005-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Yang_A-Brighter-Summer-Day_005-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Yang_A-Brighter-Summer-Day_005-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Yang_A-Brighter-Summer-Day_005-1920x1080.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Another still from ‘A Brighter Summer Day.’\u003c/figcaption>\u003c/figure>\n\u003cp>[aside postID='arts_13951535,arts_11023362,arts_13954039']MacKay says she first fell in love with Yang’s films when she was working as a projectionist for a retrospective of his work at Toronto’s Cinematheque Ontario in 2008. Over the course of her time at BAMPFA, the theater has screened a handful of Yang’s films as one-offs or as part of a broader series. But the wheels were set in motion for a full retrospective a couple of years ago, when the Taiwan Film and Audiovisual Institute announced that it was digitally restoring several of his features, including some that had never seen a proper U.S. release.\u003c/p>\n\u003cp>It’s true that Yang’s shots are long and immaculately composed, and that his characters are often filmed at an artful distance. MacKay describes his cinematic universe as “so beautiful and smart and poignant,” from a visual standpoint. At the same time, MacKay says, Yang’s work is emotionally astute and has a wonderful narrative complexity. “He’s a humanist filmmaker.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The films are also hard to pigeonhole. On top of everything else, \u003ci>A Brighter Summer Day\u003c/i> (which BAMPFA will screen on \u003ca href=\"https://secure.bampfa.org/22861/22866\">March 23\u003c/a> and \u003ca href=\"https://secure.bampfa.org/22861/23595\">May 11\u003c/a>) is a crime epic, at its heart, with a violent climax inspired by a real-life murder case that happened when Yang was growing up in Taiwan. Released in 1991, the film has an “elegiac quality” that MacKay especially admires.\u003c/p>\n\u003cp>On the other hand, \u003ci>A Confucian Confusion \u003c/i>(1994) and \u003ci>Mahjong \u003c/i>(1996) — screening on \u003ca href=\"https://secure.bampfa.org/22861/22867\">March 27\u003c/a> and \u003ca href=\"https://secure.bampfa.org/22861/22868\">April 6\u003c/a>, respectively — are biting, satirical comedies that poke fun at the materialism of the post-economic-boom Taiwan of the 1990s.\u003c/p>\n\u003cp>Unlike previous generations of Taiwanese filmmakers, Yang was best known for his interest in the concerns and interior lives of everyday middle-class people. For example, \u003ci>That Day, on the Beach \u003c/i>(screening \u003ca href=\"https://secure.bampfa.org/22861/23593\">May 3\u003c/a>), Yang’s 1983 debut feature, tells the story of a chance meeting between two successful career women who reflect back on decisions they made, or didn’t make, that might have taken their lives down a different path.\u003c/p>\n\u003cfigure id=\"attachment_13954592\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954592\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Yang_Yi-Yi_004.jpg\" alt=\"A boy in a yellow T-shirt holds a camera to his face.\" width=\"2000\" height=\"1303\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Yang_Yi-Yi_004.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Yang_Yi-Yi_004-800x521.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Yang_Yi-Yi_004-1020x665.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Yang_Yi-Yi_004-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Yang_Yi-Yi_004-768x500.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Yang_Yi-Yi_004-1536x1001.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Yang_Yi-Yi_004-1920x1251.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A still from ‘Yi Yi,’ Yang’s most famous feature.\u003c/figcaption>\u003c/figure>\n\u003cp>Finally, there’s \u003ci>Yi Yi\u003c/i> (screening April 20 and \u003ca href=\"https://secure.bampfa.org/22861/23594\">May 5\u003c/a>), Yang’s 2000 masterpiece, which is easily the filmmaker’s most famous and most widely acclaimed work — a movie that starts with a wedding and ends with a wake, and is framed around conversations that members of a multigenerational family have with the grandmother, who has fallen into a coma. It’s the film that prompted the \u003ci>New York Times \u003c/i>to call Yang “\u003ca href=\"https://www.nytimes.com/2000/10/01/arts/film-a-poet-of-middleclass-life-played-out-in-taiwan.html\">a poet of middle-class life\u003c/a>.”\u003c/p>\n\u003cp>There’s a dedicated audience in the Bay Area for what MacKay describes as “Asian auteur cinema,” and so it has been no surprise that the three movies that have screened so far — including Yang’s 1985 classic, \u003ci>Taipei Story\u003c/i>, for which the retrospective is named — all sold out. Several of the screenings also feature introductions by UC Berkeley professors.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>BAMPFA’s Edward Yang series ends on May 11. Tickets should be \u003c/i>\u003ca href=\"https://bampfa.org/program/edward-yangs-taipei-stories\">\u003ci>purchased in advance\u003c/i>\u003c/a>\u003ci>, as each screening is likely to sell out. The theater is located at 2155 Center St. in Berkeley.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"Now screening in Berkeley: newly restored versions of the Taiwanese director’s full filmography.","status":"publish","parent":0,"modified":1711063491,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":14,"wordCount":815},"headData":{"title":"Taiwanese Filmmaker Edward Yang’s Movies Shimmer at BAMPFA in Berkeley | KQED","description":"Now screening in Berkeley: newly restored versions of the Taiwanese director’s full filmography.","ogTitle":"Filmmaker Edward Yang’s Taipei Stories Shimmer at BAMPFA","ogDescription":"","ogImgId":"","twTitle":"Filmmaker Edward Yang’s Taipei Stories Shimmer at BAMPFA","twDescription":"","twImgId":"","socialTitle":"Taiwanese Filmmaker Edward Yang’s Movies Shimmer at BAMPFA in Berkeley %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"Filmmaker Edward Yang’s Taipei Stories Shimmer at BAMPFA","datePublished":"2024-03-21T23:09:46.000Z","dateModified":"2024-03-21T23:24:51.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13954587/edward-yang-taiwanese-films-yi-yi-a-brighter-summer-day-bampfa","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>When I first started watching \u003ci>A Brighter Summer Day\u003c/i>, the \u003ca href=\"https://www.kqed.org/arts/tag/taiwanese\">Taiwanese\u003c/a> filmmaker Edward Yang’s bittersweet chronicle of teenage street gangs in 1960 Taipei, I was more than a little dubious. The film has a four-hour (!) runtime, after all, and my past experiences with Taiwan New Wave cinema — with its long, languid takes and relative lack of dialogue — had been middling at best.\u003c/p>\n\u003cp>I needn’t have worried. From its opening moments, the film transfixed me with its slow-simmering portrayal of rebellious, misunderstood and (sometimes) delinquent youths who roam the streets of Taipei during a particularly uneasy time in Taiwan’s history. Occasionally, the kids are brawling with concrete bricks and baseball bats. In other scenes, though, they’re eating shaved ice on a hot summer day. Crooning American rock ‘n’ roll ballads with the voice of an angel. Falling in love for the first time.\u003c/p>\n\u003cp>The film is screening on March 23 at \u003ca href=\"https://bampfa.org/\">Berkeley Art Museum and Pacific Film Archive\u003c/a>, which is a few weeks into a months-long series, \u003ca href=\"https://bampfa.org/program/edward-yangs-taipei-stories\">Edward Yang’s Taipei Stories\u003c/a>, during which they’ll show all seven films that the legendary director made before he died in 2007. Taken together, the series makes a compelling case for what many film buffs, including BAMPFA Associate Film Curator Kate MacKay, have concluded: that Yang was “one of the all-time greats of cinema.”\u003c/p>\n\u003cfigure id=\"attachment_13954594\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954594\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Yang_A-Brighter-Summer-Day_005.jpg\" alt=\"Teenage boys in matching khaki green school uniforms stand in a row, looking off to the side with serious expressions.\" width=\"2000\" height=\"1125\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Yang_A-Brighter-Summer-Day_005.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Yang_A-Brighter-Summer-Day_005-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Yang_A-Brighter-Summer-Day_005-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Yang_A-Brighter-Summer-Day_005-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Yang_A-Brighter-Summer-Day_005-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Yang_A-Brighter-Summer-Day_005-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Yang_A-Brighter-Summer-Day_005-1920x1080.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Another still from ‘A Brighter Summer Day.’\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13951535,arts_11023362,arts_13954039","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>MacKay says she first fell in love with Yang’s films when she was working as a projectionist for a retrospective of his work at Toronto’s Cinematheque Ontario in 2008. Over the course of her time at BAMPFA, the theater has screened a handful of Yang’s films as one-offs or as part of a broader series. But the wheels were set in motion for a full retrospective a couple of years ago, when the Taiwan Film and Audiovisual Institute announced that it was digitally restoring several of his features, including some that had never seen a proper U.S. release.\u003c/p>\n\u003cp>It’s true that Yang’s shots are long and immaculately composed, and that his characters are often filmed at an artful distance. MacKay describes his cinematic universe as “so beautiful and smart and poignant,” from a visual standpoint. At the same time, MacKay says, Yang’s work is emotionally astute and has a wonderful narrative complexity. “He’s a humanist filmmaker.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The films are also hard to pigeonhole. On top of everything else, \u003ci>A Brighter Summer Day\u003c/i> (which BAMPFA will screen on \u003ca href=\"https://secure.bampfa.org/22861/22866\">March 23\u003c/a> and \u003ca href=\"https://secure.bampfa.org/22861/23595\">May 11\u003c/a>) is a crime epic, at its heart, with a violent climax inspired by a real-life murder case that happened when Yang was growing up in Taiwan. Released in 1991, the film has an “elegiac quality” that MacKay especially admires.\u003c/p>\n\u003cp>On the other hand, \u003ci>A Confucian Confusion \u003c/i>(1994) and \u003ci>Mahjong \u003c/i>(1996) — screening on \u003ca href=\"https://secure.bampfa.org/22861/22867\">March 27\u003c/a> and \u003ca href=\"https://secure.bampfa.org/22861/22868\">April 6\u003c/a>, respectively — are biting, satirical comedies that poke fun at the materialism of the post-economic-boom Taiwan of the 1990s.\u003c/p>\n\u003cp>Unlike previous generations of Taiwanese filmmakers, Yang was best known for his interest in the concerns and interior lives of everyday middle-class people. For example, \u003ci>That Day, on the Beach \u003c/i>(screening \u003ca href=\"https://secure.bampfa.org/22861/23593\">May 3\u003c/a>), Yang’s 1983 debut feature, tells the story of a chance meeting between two successful career women who reflect back on decisions they made, or didn’t make, that might have taken their lives down a different path.\u003c/p>\n\u003cfigure id=\"attachment_13954592\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954592\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Yang_Yi-Yi_004.jpg\" alt=\"A boy in a yellow T-shirt holds a camera to his face.\" width=\"2000\" height=\"1303\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Yang_Yi-Yi_004.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Yang_Yi-Yi_004-800x521.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Yang_Yi-Yi_004-1020x665.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Yang_Yi-Yi_004-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Yang_Yi-Yi_004-768x500.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Yang_Yi-Yi_004-1536x1001.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Yang_Yi-Yi_004-1920x1251.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A still from ‘Yi Yi,’ Yang’s most famous feature.\u003c/figcaption>\u003c/figure>\n\u003cp>Finally, there’s \u003ci>Yi Yi\u003c/i> (screening April 20 and \u003ca href=\"https://secure.bampfa.org/22861/23594\">May 5\u003c/a>), Yang’s 2000 masterpiece, which is easily the filmmaker’s most famous and most widely acclaimed work — a movie that starts with a wedding and ends with a wake, and is framed around conversations that members of a multigenerational family have with the grandmother, who has fallen into a coma. It’s the film that prompted the \u003ci>New York Times \u003c/i>to call Yang “\u003ca href=\"https://www.nytimes.com/2000/10/01/arts/film-a-poet-of-middleclass-life-played-out-in-taiwan.html\">a poet of middle-class life\u003c/a>.”\u003c/p>\n\u003cp>There’s a dedicated audience in the Bay Area for what MacKay describes as “Asian auteur cinema,” and so it has been no surprise that the three movies that have screened so far — including Yang’s 1985 classic, \u003ci>Taipei Story\u003c/i>, for which the retrospective is named — all sold out. Several of the screenings also feature introductions by UC Berkeley professors.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>BAMPFA’s Edward Yang series ends on May 11. Tickets should be \u003c/i>\u003ca href=\"https://bampfa.org/program/edward-yangs-taipei-stories\">\u003ci>purchased in advance\u003c/i>\u003c/a>\u003ci>, as each screening is likely to sell out. The theater is located at 2155 Center St. in Berkeley.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13954587/edward-yang-taiwanese-films-yi-yi-a-brighter-summer-day-bampfa","authors":["11743"],"programs":["arts_140"],"categories":["arts_1","arts_74"],"tags":["arts_2227","arts_1270","arts_10278","arts_977","arts_14396","arts_585"],"featImg":"arts_13954590","label":"arts_140"},"arts_13952152":{"type":"posts","id":"arts_13952152","meta":{"index":"posts_1591205157","site":"arts","id":"13952152","score":null,"sort":[1707956361000]},"guestAuthors":[],"slug":"mission-love-archival-film-roxie","title":"It's Your Last Chance to See the Archival Footage of ‘Mission Love’ at the Roxie","publishDate":1707956361,"format":"standard","headTitle":"It’s Your Last Chance to See the Archival Footage of ‘Mission Love’ at the Roxie | KQED","labelTerm":{},"content":"\u003cp>“Brown people from the Mission, this is our little history here,” says Ray Balberan of Mission Media Archives, in the trailer for \u003ci>Mission Love\u003c/i>, while holding an original can of 16mm footage.\u003c/p>\n\u003cp>The Chicano filmmaker’s latest project opened at the Roxie Theater on Jan. 27, and will have one final screening on Sunday, Feb. 18.\u003c/p>\n\u003cp>A compilation of four short films — which includes the work of Latinx filmmakers and community activists Vero Majano, Debra Koffler and Loriz “Ginger” Godines — serves as a time capsule into the early 1970s, when, in the words of Balberan, “young people took to the streets in the struggle to gain access to the broadcast airwaves to serve the community, share our own views, and create systematic change around issues like empowerment, poverty, youth employment, police brutality, and racial discrimination.”\u003c/p>\n\u003cp>The short films utilize footage taken between 1972 to 1973 that appear in each of the four shorts: \u003ci>The Family\u003c/i>; \u003ci>Mission Streets\u003c/i>;\u003ci> Back on the Streets\u003c/i>; and\u003ci> Mission Coalition Organization Demonstration and Press Conference.\u003c/i>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=7zZ_vkS1R_I\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>The sepia-toned, black and white, grainy-color footage from each film creates a mixtape-like montage of iconic institutions and community members from a bygone era. During a time of social upheaval, including the Vietnam War in a post-Civil Rights America, the films focus on the fabric of family, community and rebellious youth movements that held the Mission together — in ways that propelled progress with poetry, protests and public music gatherings.\u003c/p>\n\u003cp>Among the more hyperlocal issues, the final short film “Mission Coalition Organization Demonstration and Press Conference” follows protestors’ reaction to the sudden cancellation of KQED’s \u003cem>Mission and 24th Street\u003c/em> program. Having originally premiered in 1970, the program provided training for neighborhood residents in film and television. An issue of censorship is said to have caused the cancellation, which initially featured Balberan’s \u003ca href=\"https://www.youtube.com/channel/UCbuiQlIGfWBLBNZ24j_cnjQ\">Mission Mediarts\u003c/a> as part of the show’s production.\u003c/p>\n\u003cp>In many ways, \u003ci>Mission Love\u003c/i> is a reclamation — what may once have been censored is now essential viewing.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Mission Love’ will be shown for the final time at the Roxie Theater (3125 16th St., SF) on Sun., Feb. 18 at 6 p.m. Tickets available \u003ca href=\"https://ticketing.uswest.veezi.com/purchase/14923?siteToken=4m48btf3yavn7xjk5yxk6nc40c\">here\u003c/a>.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"A compilation of short films from the early '70s showcases the Mission’s resistance against censorship.\r\n","status":"publish","parent":0,"modified":1707956392,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":11,"wordCount":389},"headData":{"title":"It's Your Last Chance to See the Archival Footage of ‘Mission Love’ at the Roxie | KQED","description":"A compilation of short films from the early '70s showcases the Mission’s resistance against censorship.\r\n","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"It's Your Last Chance to See the Archival Footage of ‘Mission Love’ at the Roxie","datePublished":"2024-02-15T00:19:21.000Z","dateModified":"2024-02-15T00:19:52.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"source":"The Do List","sticky":false,"WpOldSlug":"its-your-last-chance-to-see-the-archival-footage-of-mission-love-at-the-roxie","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13952152/mission-love-archival-film-roxie","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>“Brown people from the Mission, this is our little history here,” says Ray Balberan of Mission Media Archives, in the trailer for \u003ci>Mission Love\u003c/i>, while holding an original can of 16mm footage.\u003c/p>\n\u003cp>The Chicano filmmaker’s latest project opened at the Roxie Theater on Jan. 27, and will have one final screening on Sunday, Feb. 18.\u003c/p>\n\u003cp>A compilation of four short films — which includes the work of Latinx filmmakers and community activists Vero Majano, Debra Koffler and Loriz “Ginger” Godines — serves as a time capsule into the early 1970s, when, in the words of Balberan, “young people took to the streets in the struggle to gain access to the broadcast airwaves to serve the community, share our own views, and create systematic change around issues like empowerment, poverty, youth employment, police brutality, and racial discrimination.”\u003c/p>\n\u003cp>The short films utilize footage taken between 1972 to 1973 that appear in each of the four shorts: \u003ci>The Family\u003c/i>; \u003ci>Mission Streets\u003c/i>;\u003ci> Back on the Streets\u003c/i>; and\u003ci> Mission Coalition Organization Demonstration and Press Conference.\u003c/i>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/7zZ_vkS1R_I'\n title='//www.youtube.com/embed/7zZ_vkS1R_I'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>The sepia-toned, black and white, grainy-color footage from each film creates a mixtape-like montage of iconic institutions and community members from a bygone era. During a time of social upheaval, including the Vietnam War in a post-Civil Rights America, the films focus on the fabric of family, community and rebellious youth movements that held the Mission together — in ways that propelled progress with poetry, protests and public music gatherings.\u003c/p>\n\u003cp>Among the more hyperlocal issues, the final short film “Mission Coalition Organization Demonstration and Press Conference” follows protestors’ reaction to the sudden cancellation of KQED’s \u003cem>Mission and 24th Street\u003c/em> program. Having originally premiered in 1970, the program provided training for neighborhood residents in film and television. An issue of censorship is said to have caused the cancellation, which initially featured Balberan’s \u003ca href=\"https://www.youtube.com/channel/UCbuiQlIGfWBLBNZ24j_cnjQ\">Mission Mediarts\u003c/a> as part of the show’s production.\u003c/p>\n\u003cp>In many ways, \u003ci>Mission Love\u003c/i> is a reclamation — what may once have been censored is now essential viewing.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Mission Love’ will be shown for the final time at the Roxie Theater (3125 16th St., SF) on Sun., Feb. 18 at 6 p.m. Tickets available \u003ca href=\"https://ticketing.uswest.veezi.com/purchase/14923?siteToken=4m48btf3yavn7xjk5yxk6nc40c\">here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13952152/mission-love-archival-film-roxie","authors":["11748"],"programs":["arts_140"],"categories":["arts_1","arts_835","arts_74"],"tags":["arts_7705","arts_977","arts_2696","arts_1256","arts_5747","arts_1257","arts_1146","arts_585"],"featImg":"arts_13952156","label":"source_arts_13952152"},"arts_13951958":{"type":"posts","id":"arts_13951958","meta":{"index":"posts_1591205157","site":"arts","id":"13951958","score":null,"sort":[1707444892000]},"guestAuthors":[],"slug":"sf-indiefest-is-a-valentine-to-movies-and-movie-lovers","title":"SF IndieFest Is a Valentine to Movies and Movie Lovers","publishDate":1707444892,"format":"standard","headTitle":"SF IndieFest Is a Valentine to Movies and Movie Lovers | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>The movie business is in a perennial state of constant tension between ambition and collaboration, joyful inventiveness and jaw-dropping paydays. This roiling undercurrent, usually invisible to the public, gushes to the surface in the run-up to the Academy Awards ceremony. There is an antidote, however, to Hollywood’s annual backslapathon: SF IndieFest.\u003c/p>\n\u003cp>[aside postID='arts_13951535']The 26-year-old flagship of Jeff Ross and company’s calendar of film events, the \u003ca href=\"https://sfindie2024.eventive.org/welcome\">San Francisco Independent Film Festival\u003c/a> (Feb. 8–18 at the Roxie Theater and online) is a beacon to anybody excited by the basic impulse of making movies. In its heart of hearts, IndieFest is a celebration of the minor miracle of finishing a film and getting it up on a screen in front of a live audience.\u003c/p>\n\u003cp>Think low budget, not low bar. A terrific example in this year’s festival is \u003cem>\u003ca href=\"https://sfindie2024.eventive.org/schedule/658c881f71ec9f00475f0421\">Sorry We’re Dead\u003c/a>\u003c/em>, the anything-goes feature debut of East Bay writer-director Alex Zajicek. His twentysomething protagonist Lana Jing, developed with actress Sarah Lee in a trio of short films (\u003cem>I Edit Lectures\u003c/em>, \u003cem>How to Be Animated\u003c/em>, \u003cem>Losing My Head\u003c/em>) going back to 2018, is a frustrated wannabe screenwriter and filmmaker stuck in a sub-entry-level job cleaning up the video recordings of deathly dull university lectures.\u003c/p>\n\u003cp>Thankfully, \u003cem>Sorry We’re Dead\u003c/em> is an angst-free, deadpan charmer that doesn’t ascribe a great deal of weight to Lana’s rite of passage. The reed-thin plot – Lana sleepily zaps an external hard drive instead of a generic Pop-Tart in the microwave, with blame for the lost lectures falling on coworker Burd Juarez (gifted physical comedian Davied Morales) — is merely a scarecrow (a poor man’s MacGuffin, if you will) to hang a succession of sight and sound gags employing all manner of techniques, including onscreen text, stop-motion animation and breaking the fourth wall.\u003c/p>\n\u003cfigure id=\"attachment_13951998\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/SORRY-WERE-DEAD.jpg\" alt='Person with \"L\" label on forehead lays on bed, label maker at side' width=\"1920\" height=\"810\" class=\"size-full wp-image-13951998\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/SORRY-WERE-DEAD.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/SORRY-WERE-DEAD-800x338.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/SORRY-WERE-DEAD-1020x430.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/SORRY-WERE-DEAD-160x68.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/SORRY-WERE-DEAD-768x324.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/SORRY-WERE-DEAD-1536x648.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A still from Alex Zajicek’s ‘Sorry We’re Dead,’ which plays Feb. 10 and streams online. \u003ccite>(Courtesy of SF IndieFest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the hands of a typical film-school graduate, the film could easily play as a shameless audition reel. Instead, Zajicek (aided and abetted by the patron saint of Bay Area indies, producer and cinematographer Frazer Bradshaw) neatly passes off all of his ideas and experiments (including the witty hash he cooks up on the soundtrack with sound designer Kent Sparling and sound mixer David Silverberg) as Lana’s latent creative wizardry.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The director and actress are seamlessly in sync, with Lee (who has a producer credit) nailing every bit of business, prop, line reading and head-tilt required to not only execute the continuous stream of audio/visual stunts but to convince us that Lana just might have the imagination and savvy (if not the self-confidence) to write and direct a film one day.\u003c/p>\n\u003cp>Conceived and crafted as a tongue-in-cheek ode to filmmaking (complete with ironic references to classic three-act structure), \u003cem>Sorry We’re Dead\u003c/em> distinguishes itself from the countless other movies about a socially awkward, smart-mouth underachiever with a nonexistent love life and a well-intended but misguided mother. (And, while we’re at it, from almost every other “portrait of the artist as a young person.”)\u003c/p>\n\u003cp>This free-range, rule-mocking approach to movie grammar, sound and storytelling reminded me of \u003cem>Schizopolis\u003c/em> (1996), Steven Soderbergh’s fifth and probably least-seen feature. When Lana slaps a Post-It note with the word “dead” over the “Sorry we’re closed” sign on her office door in Zajicek’s film, she hits a self-deprecating, anti-corporate note that echoes Soderbergh’s subversive business-world comedy.\u003c/p>\n\u003cfigure id=\"attachment_13951999\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Photo-1-LaRoy_Preliminary_Still_14.jpg\" alt=\"Two people sit at a bar in red light\" width=\"1920\" height=\"804\" class=\"size-full wp-image-13951999\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Photo-1-LaRoy_Preliminary_Still_14.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Photo-1-LaRoy_Preliminary_Still_14-800x335.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Photo-1-LaRoy_Preliminary_Still_14-1020x427.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Photo-1-LaRoy_Preliminary_Still_14-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Photo-1-LaRoy_Preliminary_Still_14-768x322.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Photo-1-LaRoy_Preliminary_Still_14-1536x643.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">John Magaro and Steve Zahn in Shane Atkinson’s ‘LaRoy.’ \u003ccite>(Courtesy of SF IndieFest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In addition to rule-breaking local films, SF IndieFest has a soft spot for genre films, a time-honored point of entry for young filmmakers. Shane Atkinson’s debut feature \u003cem>\u003ca href=\"https://sfindie2024.eventive.org/schedule/657bea798b9aac0048030f68\">LaRoy\u003c/a>\u003c/em> pleasurably follows the dusty trail of Texas noirs that the Coen Brothers first traversed in \u003cem>Blood Simple\u003c/em>, albeit without the gut-wrench of tragedy.\u003c/p>\n\u003cp>\u003cem>LaRoy\u003c/em> (a place, not a person) opens with a seemingly milquetoast driver (Dylan Baker, one of the great character actors of our time) picking up a stranded stranger on a dark road. Their banter takes an ominous turn, writing an IOU to be collected later. The next scene establishes the film’s goofier side, with self-appointed private detective Skip (Steve Zahn in fine form) generously giving sad sack Ray (John Magaro of \u003cem>Past Lives\u003c/em>) unsolicited photos of his wife ducking into a motel for a tryst.\u003c/p>\n\u003cp>As is usually the case in small-time crime yarns, the characters in \u003cem>LaRoy\u003c/em> don’t display a lot of intelligence. That’s about the only explanation why Ray, in the wrong place at the wrong time and mistaken for a contract killer, accepts a bundle of cash to kill a complete stranger.\u003c/p>\n\u003cp>It could happen to anyone, of course, anyone whose wife needs a chunk of change to open a high-end beauty salon and who doesn’t want to lose her. Ray’s problem, which in the unnatural course of events becomes everyone’s problem, is that the job he poached was Dylan Baker’s.\u003c/p>\n\u003cp>The cast — except for Magaro, who has to play dumb and lovelorn — has plenty of fun with the script’s shenanigans. Along with “greed and betrayal do not pay,” \u003cem>LaRoy\u003c/em> delivers another moral: Don’t talk to strangers. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003ca href=\"https://sfindie2024.eventive.org/welcome\">The San Francisco Independent Film Fest\u003c/a> takes place Feb. 8–18 at the Roxie Theater and streams online.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"Two festival standouts, ‘Sorry We’re Dead’ and ‘LaRoy,’ exude the exuberance of making movies.","status":"publish","parent":0,"modified":1707505394,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":17,"wordCount":974},"headData":{"title":"SF IndieFest Is a Valentine to Movies and Movie Lovers | KQED","description":"Two festival standouts, ‘Sorry We’re Dead’ and ‘LaRoy,’ exude the exuberance of making movies.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"SF IndieFest Is a Valentine to Movies and Movie Lovers","datePublished":"2024-02-09T02:14:52.000Z","dateModified":"2024-02-09T19:03:14.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13951958/sf-indiefest-is-a-valentine-to-movies-and-movie-lovers","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The movie business is in a perennial state of constant tension between ambition and collaboration, joyful inventiveness and jaw-dropping paydays. This roiling undercurrent, usually invisible to the public, gushes to the surface in the run-up to the Academy Awards ceremony. There is an antidote, however, to Hollywood’s annual backslapathon: SF IndieFest.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13951535","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>The 26-year-old flagship of Jeff Ross and company’s calendar of film events, the \u003ca href=\"https://sfindie2024.eventive.org/welcome\">San Francisco Independent Film Festival\u003c/a> (Feb. 8–18 at the Roxie Theater and online) is a beacon to anybody excited by the basic impulse of making movies. In its heart of hearts, IndieFest is a celebration of the minor miracle of finishing a film and getting it up on a screen in front of a live audience.\u003c/p>\n\u003cp>Think low budget, not low bar. A terrific example in this year’s festival is \u003cem>\u003ca href=\"https://sfindie2024.eventive.org/schedule/658c881f71ec9f00475f0421\">Sorry We’re Dead\u003c/a>\u003c/em>, the anything-goes feature debut of East Bay writer-director Alex Zajicek. His twentysomething protagonist Lana Jing, developed with actress Sarah Lee in a trio of short films (\u003cem>I Edit Lectures\u003c/em>, \u003cem>How to Be Animated\u003c/em>, \u003cem>Losing My Head\u003c/em>) going back to 2018, is a frustrated wannabe screenwriter and filmmaker stuck in a sub-entry-level job cleaning up the video recordings of deathly dull university lectures.\u003c/p>\n\u003cp>Thankfully, \u003cem>Sorry We’re Dead\u003c/em> is an angst-free, deadpan charmer that doesn’t ascribe a great deal of weight to Lana’s rite of passage. The reed-thin plot – Lana sleepily zaps an external hard drive instead of a generic Pop-Tart in the microwave, with blame for the lost lectures falling on coworker Burd Juarez (gifted physical comedian Davied Morales) — is merely a scarecrow (a poor man’s MacGuffin, if you will) to hang a succession of sight and sound gags employing all manner of techniques, including onscreen text, stop-motion animation and breaking the fourth wall.\u003c/p>\n\u003cfigure id=\"attachment_13951998\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/SORRY-WERE-DEAD.jpg\" alt='Person with \"L\" label on forehead lays on bed, label maker at side' width=\"1920\" height=\"810\" class=\"size-full wp-image-13951998\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/SORRY-WERE-DEAD.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/SORRY-WERE-DEAD-800x338.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/SORRY-WERE-DEAD-1020x430.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/SORRY-WERE-DEAD-160x68.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/SORRY-WERE-DEAD-768x324.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/SORRY-WERE-DEAD-1536x648.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A still from Alex Zajicek’s ‘Sorry We’re Dead,’ which plays Feb. 10 and streams online. \u003ccite>(Courtesy of SF IndieFest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the hands of a typical film-school graduate, the film could easily play as a shameless audition reel. Instead, Zajicek (aided and abetted by the patron saint of Bay Area indies, producer and cinematographer Frazer Bradshaw) neatly passes off all of his ideas and experiments (including the witty hash he cooks up on the soundtrack with sound designer Kent Sparling and sound mixer David Silverberg) as Lana’s latent creative wizardry.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The director and actress are seamlessly in sync, with Lee (who has a producer credit) nailing every bit of business, prop, line reading and head-tilt required to not only execute the continuous stream of audio/visual stunts but to convince us that Lana just might have the imagination and savvy (if not the self-confidence) to write and direct a film one day.\u003c/p>\n\u003cp>Conceived and crafted as a tongue-in-cheek ode to filmmaking (complete with ironic references to classic three-act structure), \u003cem>Sorry We’re Dead\u003c/em> distinguishes itself from the countless other movies about a socially awkward, smart-mouth underachiever with a nonexistent love life and a well-intended but misguided mother. (And, while we’re at it, from almost every other “portrait of the artist as a young person.”)\u003c/p>\n\u003cp>This free-range, rule-mocking approach to movie grammar, sound and storytelling reminded me of \u003cem>Schizopolis\u003c/em> (1996), Steven Soderbergh’s fifth and probably least-seen feature. When Lana slaps a Post-It note with the word “dead” over the “Sorry we’re closed” sign on her office door in Zajicek’s film, she hits a self-deprecating, anti-corporate note that echoes Soderbergh’s subversive business-world comedy.\u003c/p>\n\u003cfigure id=\"attachment_13951999\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Photo-1-LaRoy_Preliminary_Still_14.jpg\" alt=\"Two people sit at a bar in red light\" width=\"1920\" height=\"804\" class=\"size-full wp-image-13951999\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Photo-1-LaRoy_Preliminary_Still_14.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Photo-1-LaRoy_Preliminary_Still_14-800x335.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Photo-1-LaRoy_Preliminary_Still_14-1020x427.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Photo-1-LaRoy_Preliminary_Still_14-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Photo-1-LaRoy_Preliminary_Still_14-768x322.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Photo-1-LaRoy_Preliminary_Still_14-1536x643.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">John Magaro and Steve Zahn in Shane Atkinson’s ‘LaRoy.’ \u003ccite>(Courtesy of SF IndieFest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In addition to rule-breaking local films, SF IndieFest has a soft spot for genre films, a time-honored point of entry for young filmmakers. Shane Atkinson’s debut feature \u003cem>\u003ca href=\"https://sfindie2024.eventive.org/schedule/657bea798b9aac0048030f68\">LaRoy\u003c/a>\u003c/em> pleasurably follows the dusty trail of Texas noirs that the Coen Brothers first traversed in \u003cem>Blood Simple\u003c/em>, albeit without the gut-wrench of tragedy.\u003c/p>\n\u003cp>\u003cem>LaRoy\u003c/em> (a place, not a person) opens with a seemingly milquetoast driver (Dylan Baker, one of the great character actors of our time) picking up a stranded stranger on a dark road. Their banter takes an ominous turn, writing an IOU to be collected later. The next scene establishes the film’s goofier side, with self-appointed private detective Skip (Steve Zahn in fine form) generously giving sad sack Ray (John Magaro of \u003cem>Past Lives\u003c/em>) unsolicited photos of his wife ducking into a motel for a tryst.\u003c/p>\n\u003cp>As is usually the case in small-time crime yarns, the characters in \u003cem>LaRoy\u003c/em> don’t display a lot of intelligence. That’s about the only explanation why Ray, in the wrong place at the wrong time and mistaken for a contract killer, accepts a bundle of cash to kill a complete stranger.\u003c/p>\n\u003cp>It could happen to anyone, of course, anyone whose wife needs a chunk of change to open a high-end beauty salon and who doesn’t want to lose her. Ray’s problem, which in the unnatural course of events becomes everyone’s problem, is that the job he poached was Dylan Baker’s.\u003c/p>\n\u003cp>The cast — except for Magaro, who has to play dumb and lovelorn — has plenty of fun with the script’s shenanigans. Along with “greed and betrayal do not pay,” \u003cem>LaRoy\u003c/em> delivers another moral: Don’t talk to strangers. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003ca href=\"https://sfindie2024.eventive.org/welcome\">The San Francisco Independent Film Fest\u003c/a> takes place Feb. 8–18 at the Roxie Theater and streams online.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13951958/sf-indiefest-is-a-valentine-to-movies-and-movie-lovers","authors":["22"],"programs":["arts_140"],"categories":["arts_1","arts_74"],"tags":["arts_977","arts_585"],"featImg":"arts_13951997","label":"arts_140"},"arts_13951535":{"type":"posts","id":"arts_13951535","meta":{"index":"posts_1591205157","site":"arts","id":"13951535","score":null,"sort":[1707157020000]},"guestAuthors":[],"slug":"screen-slate-sf-bay-area-film-listings-castro","title":"Why I’m Declaring 2024 the Year of Film","publishDate":1707157020,"format":"standard","headTitle":"Why I’m Declaring 2024 the Year of Film | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>It’s easy, sometimes, in the face of losses or changes within the cultural landscape, to fall into doom and gloom. Everything’s less; everything’s worse; the philistines don’t care. For film buffs, today is one of those days — the renovation of the Castro begins, and the \u003ca href=\"https://www.kqed.org/news/11952358/sf-supes-ok-effort-renovate-castro-theater\">impending removal of its original theatrical seating\u003c/a> constitutes a crushing loss of San Francisco’s last pure movie palace. \u003c/p>\n\u003cp>But instead of bemoaning the total loss of Bay Area film culture, how about we rally around what we \u003ci>do\u003c/i> have — and what’s to come? After all, what we already have is a lot: enough independent, revival, experimental and artist-made films playing every night of the week that one can’t possibly see them all. \u003c/p>\n\u003cp>“I had, for years, a Google calendar that was everything playing in the Bay Area that I was interested in,” says Stephen Fisk, a 38-year-old film lover. “I had shared it with a bunch of friends, to the point that one of them was like, ‘I had to turn it off, it’s too stressful to see something every day of the week.’”\u003c/p>\n\u003cp>[aside postID='arts_13950600']To capture and organize that abundance more publicly, Fisk and his friend Omar Rodriguez launched the website SF Bay Film in 2021, just as theaters were starting to reopen. The site was democratic and streamlined, compiling repertory screenings at microcinemas like Oakland’s \u003ca href=\"https://www.shapeshifterscinema.com/\">Shapeshifters\u003c/a> alongside far better-known venues like \u003ca href=\"https://bampfa.org/\">BAMPFA\u003c/a>.\u003c/p>\n\u003cp>When they were building the site, Fisk and Rodriguez purposely modeled it after \u003ca href=\"https://www.screenslate.com/\">Screen Slate\u003c/a>, a New York-based nonprofit founded in 2011 that publishes listings, criticism, interviews, zines and a podcast on moving image culture. And in late 2023, Screen Slate announced an \u003ca href=\"https://www.screenslate.com/articles/screen-slate-san-francisco-bay\">official expansion into the Bay Area\u003c/a>, bringing Fisk and Rodriguez on as editors to continue the work they had already been doing, but with editorial support and a larger audience.\u003c/p>\n\u003cfigure id=\"attachment_13951540\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/roxie-screenslate-omar-stephen-introducing_2000.jpg\" alt=\"Two people lean against stage facing theater seats with big 'ROXIE' in red on screen\" width=\"2000\" height=\"1500\" class=\"size-full wp-image-13951540\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/roxie-screenslate-omar-stephen-introducing_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/roxie-screenslate-omar-stephen-introducing_2000-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/roxie-screenslate-omar-stephen-introducing_2000-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/roxie-screenslate-omar-stephen-introducing_2000-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/roxie-screenslate-omar-stephen-introducing_2000-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/roxie-screenslate-omar-stephen-introducing_2000-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/roxie-screenslate-omar-stephen-introducing_2000-1920x1440.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Omar Rodriguez and Stephen Fisk of Screen Slate SF Bay introducing a screening of ‘Anguish’ at the Roxie on Oct. 26, 2023. \u003ccite>(Courtesy of Screen Slate)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Now, every Monday, an email arrives in over 750 inboxes in which Fisk rounds up the film offerings for the week ahead. As Brett Kashmere, executive director of \u003ca href=\"https://canyoncinema.com/\">Canyon Cinema\u003c/a>, pointed out by email, “There is a lot of great stuff happening across the Bay these days.” YBCA’s theater is \u003ca href=\"https://ybca.org/event/color-in-twelve-parts/\">back in action\u003c/a> thanks to programming from Gina Basso (formerly of SFMOMA). Shapeshifters runs an “amazing cascade of workshops and screenings.” SF Cinematheque will host \u003ca href=\"https://www.sfcinematheque.org/screening/luther-price-new-utopia-and-light-fracture/\">a program of Luther Price’s slide work\u003c/a> in March. And, Kashmere adds, “The whole BAMPFA film calendar is on fire this season.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postID='arts_13900656']“We’ve lost a lot in the Bay Area film community in the past five years or so,” Fisk says. “But there’s still so much — I can’t list everything.”\u003c/p>\n\u003cp>“To me, it’s one of the most significant developments for the Bay Area film community in the past several years,” says Kashmere. “People love putting on and going to screenings here. But information about what is happening, when, and where has tended to be very scattered.”\u003c/p>\n\u003cp>On top of centralized listings, Kashmere says, Screen Slate San Francisco Bay has made visible the strong community and infrastructure that’s already here. “The scene is rich with stories and connections, a small-town feeling in a big city,” programmer Amanda Salazar wrote in the \u003ca href=\"https://www.screenslate.com/articles/analog-means-little-bit-more-us-anita-monga-san-francisco-silent-film-festival-and-bay\">inaugural Screen Slate San Francisco Bay interview\u003c/a>, a conversation with SF Silent Film Festival’s artistic director Anita Monga. \u003c/p>\n\u003cp>Fisk points to Salazar’s own pop-up cinematheque, Camera Obscura, as the type of programming he loves to highlight. “They have \u003ca href=\"https://www.facebook.com/cameraobscurafilmsociety\">a Facebook page\u003c/a> that they post on once a year,” Fisk explains of the Petaluma film series. “But if you are not keeping an eye out for that one post that comes in October … then you’re just going to completely miss it.”\u003c/p>\n\u003cp>Nellie Killian, a film programmer who’s deep in the permitting process of building out \u003ca href=\"https://theportalcinema.com/\">The Portal\u003c/a>, a 49-seat microcinema at Mission and 29th Streets, agrees that Screen Slate’s arrival is a gamechanger. “It really helps,” she says, “just in terms of making you realize you actually are missing stuff if you’re being pessimistic.”\u003c/p>\n\u003cfigure id=\"attachment_13951542\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Slate-SF-Bay.jpg\" alt='Purple on black graphic with \"screen slate\" text, cartoonish film projector and Golden Gate bridge' width=\"1000\" height=\"1000\" class=\"size-full wp-image-13951542\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Slate-SF-Bay.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Slate-SF-Bay-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Slate-SF-Bay-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Slate-SF-Bay-768x768.jpg 768w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">The Screen Slate SF Bay logo, designed by Braulio Amado. \u003ccite>(Courtesy of Screen Slate)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While Killian’s hit more bureaucratic slowdowns than she expected, she’s confident The Portal will open in 2024. “There’s a lot of room for more theaters of different sizes,” she says, especially in the wake of the Castro’s closure. “If someone else wants to open a theater and wants to talk to me about it, I feel like I can save them some steps!”\u003c/p>\n\u003cp>The Bay Area side of Screen Slate is miniscule in comparison to its New York offerings (I stopped counting a single day’s worth of New York screenings at 40), but for Fisk and Rodriguez, along with Screen Slate’s founder and editor-in-chief Jon Dieringer, this is just the beginning.\u003c/p>\n\u003cp>Screen Slate “has somehow evolved organically over time, without a master plan,” Dieringer says. Rodriguez currently does the bulk of data entry for listings. (If more theaters are interested in coming on board, Fisk says, “Feel free to reach out!”) Essays and interviews are pitched by writers rather than assigned from the top down.\u003c/p>\n\u003cp>Recent Bay Area-centered pieces include \u003ca href=\"https://www.screenslate.com/articles/common-bonds-caden-mark-gardner-and-jenni-olson-masc\">an interview with \u003ci>Masc\u003c/i> curators Caden Mark Gardner and Jenni Olson\u003c/a>, a \u003ca href=\"https://www.screenslate.com/articles/slither\">review of \u003ci>Slither\u003c/i>\u003c/a> in advance of a New Parkway screening, \u003ca href=\"https://www.screenslate.com/articles/skip-norman-here-and-there\">a feature on BAMPFA’s Skip Norman series\u003c/a> and \u003ca href=\"https://www.screenslate.com/articles/useful-cinema-rick-prelinger-spectrum-sponsorship\">a deep conversation\u003c/a> with local film archivist Rick Prelinger. An interview with David Kiehn from the Niles Essanay Silent Film Museum is on the horizon.\u003c/p>\n\u003cp>While there are honorariums for writers and editors, Screen Slate — on both coasts — is ultimately a labor of love. “I hate to be cheesy,” Dieringer says, “but it is more than just a calendar. It’s about creating that sense of community and enthusiasm.”\u003c/p>\n\u003cp>You pick the screening, I’ll save you a seat.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Click here to join the weekly \u003ca href=\"https://www.screenslate.com/newsletter\">Screen Slate San Francisco Bay newsletter\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Despite the Castro’s temporary closure, film buffs need not despair — there’s a wealth of other options.","status":"publish","parent":0,"modified":1707335068,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":21,"wordCount":1111},"headData":{"title":"Why I’m Declaring 2024 the Year of Film | KQED","description":"Despite the Castro’s temporary closure, film buffs need not despair — there’s a wealth of other options.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Why I’m Declaring 2024 the Year of Film","datePublished":"2024-02-05T18:17:00.000Z","dateModified":"2024-02-07T19:44:28.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13951535/screen-slate-sf-bay-area-film-listings-castro","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s easy, sometimes, in the face of losses or changes within the cultural landscape, to fall into doom and gloom. Everything’s less; everything’s worse; the philistines don’t care. For film buffs, today is one of those days — the renovation of the Castro begins, and the \u003ca href=\"https://www.kqed.org/news/11952358/sf-supes-ok-effort-renovate-castro-theater\">impending removal of its original theatrical seating\u003c/a> constitutes a crushing loss of San Francisco’s last pure movie palace. \u003c/p>\n\u003cp>But instead of bemoaning the total loss of Bay Area film culture, how about we rally around what we \u003ci>do\u003c/i> have — and what’s to come? After all, what we already have is a lot: enough independent, revival, experimental and artist-made films playing every night of the week that one can’t possibly see them all. \u003c/p>\n\u003cp>“I had, for years, a Google calendar that was everything playing in the Bay Area that I was interested in,” says Stephen Fisk, a 38-year-old film lover. “I had shared it with a bunch of friends, to the point that one of them was like, ‘I had to turn it off, it’s too stressful to see something every day of the week.’”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13950600","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>To capture and organize that abundance more publicly, Fisk and his friend Omar Rodriguez launched the website SF Bay Film in 2021, just as theaters were starting to reopen. The site was democratic and streamlined, compiling repertory screenings at microcinemas like Oakland’s \u003ca href=\"https://www.shapeshifterscinema.com/\">Shapeshifters\u003c/a> alongside far better-known venues like \u003ca href=\"https://bampfa.org/\">BAMPFA\u003c/a>.\u003c/p>\n\u003cp>When they were building the site, Fisk and Rodriguez purposely modeled it after \u003ca href=\"https://www.screenslate.com/\">Screen Slate\u003c/a>, a New York-based nonprofit founded in 2011 that publishes listings, criticism, interviews, zines and a podcast on moving image culture. And in late 2023, Screen Slate announced an \u003ca href=\"https://www.screenslate.com/articles/screen-slate-san-francisco-bay\">official expansion into the Bay Area\u003c/a>, bringing Fisk and Rodriguez on as editors to continue the work they had already been doing, but with editorial support and a larger audience.\u003c/p>\n\u003cfigure id=\"attachment_13951540\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/roxie-screenslate-omar-stephen-introducing_2000.jpg\" alt=\"Two people lean against stage facing theater seats with big 'ROXIE' in red on screen\" width=\"2000\" height=\"1500\" class=\"size-full wp-image-13951540\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/roxie-screenslate-omar-stephen-introducing_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/roxie-screenslate-omar-stephen-introducing_2000-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/roxie-screenslate-omar-stephen-introducing_2000-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/roxie-screenslate-omar-stephen-introducing_2000-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/roxie-screenslate-omar-stephen-introducing_2000-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/roxie-screenslate-omar-stephen-introducing_2000-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/roxie-screenslate-omar-stephen-introducing_2000-1920x1440.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Omar Rodriguez and Stephen Fisk of Screen Slate SF Bay introducing a screening of ‘Anguish’ at the Roxie on Oct. 26, 2023. \u003ccite>(Courtesy of Screen Slate)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Now, every Monday, an email arrives in over 750 inboxes in which Fisk rounds up the film offerings for the week ahead. As Brett Kashmere, executive director of \u003ca href=\"https://canyoncinema.com/\">Canyon Cinema\u003c/a>, pointed out by email, “There is a lot of great stuff happening across the Bay these days.” YBCA’s theater is \u003ca href=\"https://ybca.org/event/color-in-twelve-parts/\">back in action\u003c/a> thanks to programming from Gina Basso (formerly of SFMOMA). Shapeshifters runs an “amazing cascade of workshops and screenings.” SF Cinematheque will host \u003ca href=\"https://www.sfcinematheque.org/screening/luther-price-new-utopia-and-light-fracture/\">a program of Luther Price’s slide work\u003c/a> in March. And, Kashmere adds, “The whole BAMPFA film calendar is on fire this season.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13900656","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>“We’ve lost a lot in the Bay Area film community in the past five years or so,” Fisk says. “But there’s still so much — I can’t list everything.”\u003c/p>\n\u003cp>“To me, it’s one of the most significant developments for the Bay Area film community in the past several years,” says Kashmere. “People love putting on and going to screenings here. But information about what is happening, when, and where has tended to be very scattered.”\u003c/p>\n\u003cp>On top of centralized listings, Kashmere says, Screen Slate San Francisco Bay has made visible the strong community and infrastructure that’s already here. “The scene is rich with stories and connections, a small-town feeling in a big city,” programmer Amanda Salazar wrote in the \u003ca href=\"https://www.screenslate.com/articles/analog-means-little-bit-more-us-anita-monga-san-francisco-silent-film-festival-and-bay\">inaugural Screen Slate San Francisco Bay interview\u003c/a>, a conversation with SF Silent Film Festival’s artistic director Anita Monga. \u003c/p>\n\u003cp>Fisk points to Salazar’s own pop-up cinematheque, Camera Obscura, as the type of programming he loves to highlight. “They have \u003ca href=\"https://www.facebook.com/cameraobscurafilmsociety\">a Facebook page\u003c/a> that they post on once a year,” Fisk explains of the Petaluma film series. “But if you are not keeping an eye out for that one post that comes in October … then you’re just going to completely miss it.”\u003c/p>\n\u003cp>Nellie Killian, a film programmer who’s deep in the permitting process of building out \u003ca href=\"https://theportalcinema.com/\">The Portal\u003c/a>, a 49-seat microcinema at Mission and 29th Streets, agrees that Screen Slate’s arrival is a gamechanger. “It really helps,” she says, “just in terms of making you realize you actually are missing stuff if you’re being pessimistic.”\u003c/p>\n\u003cfigure id=\"attachment_13951542\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Slate-SF-Bay.jpg\" alt='Purple on black graphic with \"screen slate\" text, cartoonish film projector and Golden Gate bridge' width=\"1000\" height=\"1000\" class=\"size-full wp-image-13951542\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Slate-SF-Bay.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Slate-SF-Bay-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Slate-SF-Bay-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Slate-SF-Bay-768x768.jpg 768w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">The Screen Slate SF Bay logo, designed by Braulio Amado. \u003ccite>(Courtesy of Screen Slate)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While Killian’s hit more bureaucratic slowdowns than she expected, she’s confident The Portal will open in 2024. “There’s a lot of room for more theaters of different sizes,” she says, especially in the wake of the Castro’s closure. “If someone else wants to open a theater and wants to talk to me about it, I feel like I can save them some steps!”\u003c/p>\n\u003cp>The Bay Area side of Screen Slate is miniscule in comparison to its New York offerings (I stopped counting a single day’s worth of New York screenings at 40), but for Fisk and Rodriguez, along with Screen Slate’s founder and editor-in-chief Jon Dieringer, this is just the beginning.\u003c/p>\n\u003cp>Screen Slate “has somehow evolved organically over time, without a master plan,” Dieringer says. Rodriguez currently does the bulk of data entry for listings. (If more theaters are interested in coming on board, Fisk says, “Feel free to reach out!”) Essays and interviews are pitched by writers rather than assigned from the top down.\u003c/p>\n\u003cp>Recent Bay Area-centered pieces include \u003ca href=\"https://www.screenslate.com/articles/common-bonds-caden-mark-gardner-and-jenni-olson-masc\">an interview with \u003ci>Masc\u003c/i> curators Caden Mark Gardner and Jenni Olson\u003c/a>, a \u003ca href=\"https://www.screenslate.com/articles/slither\">review of \u003ci>Slither\u003c/i>\u003c/a> in advance of a New Parkway screening, \u003ca href=\"https://www.screenslate.com/articles/skip-norman-here-and-there\">a feature on BAMPFA’s Skip Norman series\u003c/a> and \u003ca href=\"https://www.screenslate.com/articles/useful-cinema-rick-prelinger-spectrum-sponsorship\">a deep conversation\u003c/a> with local film archivist Rick Prelinger. An interview with David Kiehn from the Niles Essanay Silent Film Museum is on the horizon.\u003c/p>\n\u003cp>While there are honorariums for writers and editors, Screen Slate — on both coasts — is ultimately a labor of love. “I hate to be cheesy,” Dieringer says, “but it is more than just a calendar. It’s about creating that sense of community and enthusiasm.”\u003c/p>\n\u003cp>You pick the screening, I’ll save you a seat.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Click here to join the weekly \u003ca href=\"https://www.screenslate.com/newsletter\">Screen Slate San Francisco Bay newsletter\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13951535/screen-slate-sf-bay-area-film-listings-castro","authors":["61"],"categories":["arts_1","arts_74"],"tags":["arts_3670","arts_10342","arts_10278","arts_977"],"featImg":"arts_13951539","label":"arts"},"arts_13950600":{"type":"posts","id":"arts_13950600","meta":{"index":"posts_1591205157","site":"arts","id":"13950600","score":null,"sort":[1705625200000]},"guestAuthors":[],"slug":"bampfa-film-masc-trans-men-butch-dykes-gender-nonconforming-heroes","title":"BAMPFA Film Series Spotlights Trans Masculine, Butch and Stud Protagonists","publishDate":1705625200,"format":"standard","headTitle":"BAMPFA Film Series Spotlights Trans Masculine, Butch and Stud Protagonists | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>Though they may not often get shine on the big screen, trans men, butch lesbians and studs have fascinating stories that span time periods and cultures. An upcoming month of screenings at Berkeley Art Museum and Pacific Film Archive (BAMPFA) offers a rare opportunity to take in a diverse selection of films with masculine-of-center, gender-nonconforming protagonists.\u003c/p>\n\u003cp>Curated by queer film historian Jenni Olson and trans critic Caden Mark Gardner, \u003ca href=\"https://bampfa.org/program/masc\">\u003ci>Masc: Trans Men, Butch Dykes, and Gender Nonconforming Heroes in Cinema\u003c/i>\u003c/a> kicks off on Jan. 19 with a screening of \u003ci>No Ordinary Man\u003c/i> (directed by Aisling Chin-Yee and Chase Joynt, 2020), a documentary about jazz pianist Billy Tipton, who was outed as assigned female at birth and slandered in the press after his death in 1989. The film not only uplifts his musical contributions, but also explores the sacrifices he made in order to pass. At the screening, Olson will host a discussion with premier trans historian Susan Stryker and GLBT Historical Society archivist Isaac Fellman. [aside postid='arts_13900522']\u003c/p>\n\u003cp>Catherine Gund and Daresha Kyi’s \u003ci>Chavela\u003c/i> (2017), screening Jan. 28, is another music documentary that spotlights the breathtakingly talented and frustratingly complicated late Mexican singer Chavela Vargas, who influenced artistic greats like Pedro Almodóvar and once dated Frida Kahlo. Marcia Ochoa, co-founder of El/La Para Trans Latinas, will accompany Olson in introducing the film.\u003c/p>\n\u003cp>Another highlight of the program, Daniel Peddle’s \u003ci>The Aggressives\u003c/i> (2005), screening Feb. 17, follows trans masculine folks in the New York ballroom scene of the 1990s and 2000s, where many queer and gender-nonconforming people turn for a creative outlet and chosen family. Mindfulness teacher and activist Fresh “Lev” White and UC Berkeley Professor Mel Y. Chen will join Olson in a discussion.\u003c/p>\n\u003cp>And Kim Longinotto and Jano Williams’ \u003ci>Shinjuku Boys\u003c/i> (1995), screening Feb. 25, follows three trans men (known as onabe in Japan) who entertain women at Tokyo host clubs. A discussion will follow with artist, filmmaker and scholar TT Takemoto and San Francisco State University provost Amy Sueyoshi.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In addition to documentaries, the five-week \u003cem>Masc\u003c/em> program includes narrative films and shorts that, taken together, uplift the many fluid gender expressions that have always been here.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Masc: Trans Men, Butch Dykes, and Gender Nonconforming Heroes’ takes place at BAMPFA in Berkeley Jan. 19–Feb. 25. \u003ca href=\"https://bampfa.org/program/masc\">Full film schedule here\u003c/a>. \u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"Documentaries, narratives and shorts tell stories of gender nonconformity across decades and cultures.","status":"publish","parent":0,"modified":1705625200,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":10,"wordCount":404},"headData":{"title":"BAMPFA’s ‘Masc’ Films Spotlight Gender-Nonconforming Heroes | KQED","description":"Documentaries, narratives and shorts tell stories of gender nonconformity across decades and cultures.","ogTitle":"BAMPFA Film Series Spotlights Trans Masculine, Butch and Stud Protagonists","ogDescription":"","ogImgId":"","twTitle":"BAMPFA Film Series Spotlights Trans Masculine, Butch and Stud Protagonists","twDescription":"","twImgId":"","socialTitle":"BAMPFA’s ‘Masc’ Films Spotlight Gender-Nonconforming Heroes %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"BAMPFA Film Series Spotlights Trans Masculine, Butch and Stud Protagonists","datePublished":"2024-01-19T00:46:40.000Z","dateModified":"2024-01-19T00:46:40.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13950600/bampfa-film-masc-trans-men-butch-dykes-gender-nonconforming-heroes","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Though they may not often get shine on the big screen, trans men, butch lesbians and studs have fascinating stories that span time periods and cultures. An upcoming month of screenings at Berkeley Art Museum and Pacific Film Archive (BAMPFA) offers a rare opportunity to take in a diverse selection of films with masculine-of-center, gender-nonconforming protagonists.\u003c/p>\n\u003cp>Curated by queer film historian Jenni Olson and trans critic Caden Mark Gardner, \u003ca href=\"https://bampfa.org/program/masc\">\u003ci>Masc: Trans Men, Butch Dykes, and Gender Nonconforming Heroes in Cinema\u003c/i>\u003c/a> kicks off on Jan. 19 with a screening of \u003ci>No Ordinary Man\u003c/i> (directed by Aisling Chin-Yee and Chase Joynt, 2020), a documentary about jazz pianist Billy Tipton, who was outed as assigned female at birth and slandered in the press after his death in 1989. The film not only uplifts his musical contributions, but also explores the sacrifices he made in order to pass. At the screening, Olson will host a discussion with premier trans historian Susan Stryker and GLBT Historical Society archivist Isaac Fellman. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13900522","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Catherine Gund and Daresha Kyi’s \u003ci>Chavela\u003c/i> (2017), screening Jan. 28, is another music documentary that spotlights the breathtakingly talented and frustratingly complicated late Mexican singer Chavela Vargas, who influenced artistic greats like Pedro Almodóvar and once dated Frida Kahlo. Marcia Ochoa, co-founder of El/La Para Trans Latinas, will accompany Olson in introducing the film.\u003c/p>\n\u003cp>Another highlight of the program, Daniel Peddle’s \u003ci>The Aggressives\u003c/i> (2005), screening Feb. 17, follows trans masculine folks in the New York ballroom scene of the 1990s and 2000s, where many queer and gender-nonconforming people turn for a creative outlet and chosen family. Mindfulness teacher and activist Fresh “Lev” White and UC Berkeley Professor Mel Y. Chen will join Olson in a discussion.\u003c/p>\n\u003cp>And Kim Longinotto and Jano Williams’ \u003ci>Shinjuku Boys\u003c/i> (1995), screening Feb. 25, follows three trans men (known as onabe in Japan) who entertain women at Tokyo host clubs. A discussion will follow with artist, filmmaker and scholar TT Takemoto and San Francisco State University provost Amy Sueyoshi.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In addition to documentaries, the five-week \u003cem>Masc\u003c/em> program includes narrative films and shorts that, taken together, uplift the many fluid gender expressions that have always been here.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Masc: Trans Men, Butch Dykes, and Gender Nonconforming Heroes’ takes place at BAMPFA in Berkeley Jan. 19–Feb. 25. \u003ca href=\"https://bampfa.org/program/masc\">Full film schedule here\u003c/a>. \u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13950600/bampfa-film-masc-trans-men-butch-dykes-gender-nonconforming-heroes","authors":["11387"],"programs":["arts_140"],"categories":["arts_1","arts_835","arts_74"],"tags":["arts_10278","arts_977","arts_3226","arts_585"],"featImg":"arts_13950612","label":"arts_140"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.","airtime":"SUN 2pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.possible.fm/","meta":{"site":"news","source":"Possible"},"link":"/radio/program/possible","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/possible/id1677184070","spotify":"https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"}},"1a":{"id":"1a","title":"1A","info":"1A is home to the national conversation. 1A brings on great guests and frames the best debate in ways that make you think, share and engage.","airtime":"MON-THU 11pm-12am","imageSrc":"https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/1a.jpg","officialWebsiteLink":"https://the1a.org/","meta":{"site":"news","source":"npr"},"link":"/radio/program/1a","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=1188724250&at=11l79Y&ct=nprdirectory","tuneIn":"https://tunein.com/radio/1A-p947376/","rss":"https://feeds.npr.org/510316/podcast.xml"}},"all-things-considered":{"id":"all-things-considered","title":"All Things Considered","info":"Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. Michel Martin hosts on the weekends.","airtime":"MON-FRI 1pm-2pm, 4:30pm-6:30pm\u003cbr />SAT-SUN 5pm-6pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/All-Things-Considered-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.npr.org/programs/all-things-considered/","meta":{"site":"news","source":"npr"},"link":"/radio/program/all-things-considered"},"american-suburb-podcast":{"id":"american-suburb-podcast","title":"American Suburb: The Podcast","tagline":"The flip side of gentrification, told through one town","info":"Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/American-Suburb-Podcast-Tile-703x703-1.jpg","officialWebsiteLink":"/news/series/american-suburb-podcast","meta":{"site":"news","source":"kqed","order":"13"},"link":"/news/series/american-suburb-podcast/","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328","tuneIn":"https://tunein.com/radio/American-Suburb-p1086805/","rss":"https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"}},"baycurious":{"id":"baycurious","title":"Bay Curious","tagline":"Exploring the Bay Area, one question at a time","info":"KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg","imageAlt":"\"KQED Bay Curious","officialWebsiteLink":"/news/series/baycurious","meta":{"site":"news","source":"kqed","order":"4"},"link":"/podcasts/baycurious","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/bay-curious/id1172473406","npr":"https://www.npr.org/podcasts/500557090/bay-curious","rss":"https://ww2.kqed.org/news/category/bay-curious-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvbmV3cy9jYXRlZ29yeS9iYXktY3VyaW91cy1wb2RjYXN0L2ZlZWQvcG9kY2FzdA","stitcher":"https://www.stitcher.com/podcast/kqed/bay-curious","spotify":"https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k"}},"bbc-world-service":{"id":"bbc-world-service","title":"BBC World Service","info":"The day's top stories from BBC News compiled twice daily in the week, once at weekends.","airtime":"MON-FRI 9pm-10pm, TUE-FRI 1am-2am","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.bbc.co.uk/sounds/play/live:bbc_world_service","meta":{"site":"news","source":"BBC World Service"},"link":"/radio/program/bbc-world-service","subscribe":{"apple":"https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2","tuneIn":"https://tunein.com/radio/BBC-World-Service-p455581/","rss":"https://podcasts.files.bbci.co.uk/p02nq0gn.rss"}},"code-switch-life-kit":{"id":"code-switch-life-kit","title":"Code Switch / Life Kit","info":"\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />","airtime":"SUN 9pm-10pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg","meta":{"site":"radio","source":"npr"},"link":"/radio/program/code-switch-life-kit","subscribe":{"apple":"https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy","spotify":"https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV","rss":"https://feeds.npr.org/510312/podcast.xml"}},"commonwealth-club":{"id":"commonwealth-club","title":"Commonwealth Club of California Podcast","info":"The Commonwealth Club of California is the nation's oldest and largest public affairs forum. 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On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. 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For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us","airtime":"SUN 2pm-3pm, MON 12am-1am","imageSrc":"https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png","officialWebsiteLink":"https://www.wnycstudios.org/shows/otm","meta":{"site":"news","source":"wnyc"},"link":"/radio/program/on-the-media","subscribe":{"apple":"https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2","tuneIn":"https://tunein.com/radio/On-the-Media-p69/","rss":"http://feeds.wnyc.org/onthemedia"}},"our-body-politic":{"id":"our-body-politic","title":"Our Body Politic","info":"Presented by KQED, KCRW and KPCC, and created and hosted by award-winning journalist Farai Chideya, Our Body Politic is unapologetically centered on reporting on not just how women of color experience the major political events of today, but how they’re impacting those very issues.","airtime":"SAT 6pm-7pm, SUN 1am-2am","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Our-Body-Politic-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://our-body-politic.simplecast.com/","meta":{"site":"news","source":"kcrw"},"link":"/radio/program/our-body-politic","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/our-body-politic/id1533069868","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5zaW1wbGVjYXN0LmNvbS9feGFQaHMxcw","spotify":"https://open.spotify.com/show/4ApAiLT1kV153TttWAmqmc","rss":"https://feeds.simplecast.com/_xaPhs1s","tuneIn":"https://tunein.com/podcasts/News--Politics-Podcasts/Our-Body-Politic-p1369211/"}},"pbs-newshour":{"id":"pbs-newshour","title":"PBS NewsHour","info":"Analysis, background reports and updates from the PBS NewsHour putting today's news in context.","airtime":"MON-FRI 3pm-4pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.pbs.org/newshour/","meta":{"site":"news","source":"pbs"},"link":"/radio/program/pbs-newshour","subscribe":{"apple":"https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2","tuneIn":"https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/","rss":"https://www.pbs.org/newshour/feeds/rss/podcasts/show"}},"perspectives":{"id":"perspectives","title":"Perspectives","tagline":"KQED's series of of daily listener commentaries since 1991","info":"KQED's series of of daily listener commentaries since 1991.","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Perspectives-Podcast-Tile-703x703-1.jpg","officialWebsiteLink":"/perspectives/","meta":{"site":"radio","source":"kqed","order":"15"},"link":"/perspectives","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/id73801135","npr":"https://www.npr.org/podcasts/432309616/perspectives","rss":"https://ww2.kqed.org/perspectives/category/perspectives/feed/","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"}},"planet-money":{"id":"planet-money","title":"Planet Money","info":"The economy explained. 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The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.","airtime":"SAT 4pm-5pm","imageSrc":"https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/reveal300px.png","officialWebsiteLink":"https://www.revealnews.org/episodes/","meta":{"site":"news","source":"npr"},"link":"/radio/program/reveal","subscribe":{"apple":"https://itunes.apple.com/us/podcast/reveal/id886009669","tuneIn":"https://tunein.com/radio/Reveal-p679597/","rss":"http://feeds.revealradio.org/revealpodcast"}},"says-you":{"id":"says-you","title":"Says You!","info":"Public radio's game show of bluff and bluster, words and whimsy. 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